❚ NOT TO BE MISSED! Freshly posted at YouTube is yet another heart-on-sleeve prequel to Spandau Ballet’s promised Reconciliation and Redemption tour. A group interview on video unexpectedly becomes a very moving and positive expression of the band’s solidarity as friends. Famously “sticky moments” from the kamikaze wrecking of the band at the height of its success and the atomic fall-out during the 90s are glancingly referred to in the spirit of mild self-flagellation. The five musicians who defined Britain’s New Romantic movement are discussing Soul Boys of the Western World, their warts-and-all documentary biopic premiered last month at SXSW, the cool new-media festival at Austin in Texas.
“The film is pretty honest and hard for us to watch at times,” says songwriter Gary Kemp. “You can see in the film I was a bit precious.”
“That Kray twin moment [a reference to the Kemps making a feature film about the Krays in 1990]: for me that’s really embarrassing cos me and Gary’s answer is really conceited, but that’s who we were at the time,” says brother and bass player Martin. “The film lets us examine where we went wrong.”
SOUL BOYS SET FOR CANNES
The Spandau Ballet documentary that proved a hit at SXSW in March, is to be screened to buyers at the ➢ Cannes Marché next month, handled by UK sales company Metro International
“We’re human, we didn’t always get it right, we were young kids thrust into the limelight,” says singer Tony Hadley.
“We went through that terrible time facing each other in court at one point,” says instrumentalist Steve Norman. “It was awful. I put my saxophone on the top shelf and didn’t want anything to do with it for about four or five years cos it was symbolic of Spandau.”
Throughout the interview St John of the Drums emerges as the Kentish Town savant with a healing prayer for the sins that destroyed lifelong friendships between the five soulboys. “You can’t be revisionist,” Keeble observes. “It was a major thing when we got back together five years ago. You cannot unknow stuff that’s gone on but I think everyone felt in their hearts that it was now better to focus on the future. The whole world’s still in front of us.”
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What’s sad from a fan’s perspective is that the live gig in Texas which followed the film’s screening was the first and only time Spandau have played together since their year-long Reformation tour ended in 2010. That comeback tour was a sensational success, just as this gig has proved to be. The video interviewer, writer Lori Majewski, called Spandau a formidable live band: “I was surprised how tight you guys were, how great the live show was!” Entertainment Weekly reported the gig exuding “a rare atmosphere for a very youth-centrict fest, and a truly inspired musical moment – not bad for a bunch of fifty-somethings”.
The documentary has received keen reviews for its sole use of vintage footage and director George Hencken’s intelligent deployment of the band’s hit tunes from the 80s. The SXSW interview also reveals that at the 1985 Live Aid concert Steve Norman shot some under-cover footage backstage where cameras officially weren’t allowed. John Keeble remarks on the amount of original footage in their movie which the band themselves had never seen before – much shot by Martin Kemp as a Super8 enthusiast – while there’s plenty more footage that didn’t make the cut. So come on, lads. Let’s stage a premiere for the Spandau out-takes.
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❏ This meeting of travellers at a crossroads in Austin has all the signs of a mystical resurrection sent from heaven, yet we’re told a Spandau tour is unlikely to happen this side of New Year. How patient must fans be? They had to wait three years for this film to be finished, having evolved naturally from a gifted film-maker recording the Reformation tour.
Two superb books on Spandau have been in preparation for years: one, a smart limited edition photobook, still awaits a strategic publication date to support a career jump-start.
The other was commissioned ten years ago, yes ten, in a wishful gesture of reconciliation while band members roamed the wilderness of solo careers. The showbiz writer Paul Simper was rightly deemed the only person qualified and trusted to capture the fascinating inside story of Spandau Ballet. His manuscript was revised five years ago to boost the Reformation tour, then publication was postponed in order to embrace the selfsame Reformation tour. His gripping text is far more thorough than many rock biogs because of the extraordinary times it describes and the wide-ranging context his research has captured. Currently, Simper is re-retuning his words which could become the book-of-the-film – once the film is given a release date. “Hearing the band talk so eloquently and emotionally gives me new impetus,” he said today. “It’s thrilling to hear them looking to the future.”
For the fans camped at the tiny Oasis of Hope, the road to truth and reconciliation for the band who’ve been pals since schooldays is a long one, as it has been for post-apartheid South Africa, and for Ireland since partition. But y’know, those two were nations with histories riven by British politics. Not a chart-topping pop group. Why doesn’t somebody ask Jerry for his Final Word then we can all get back to the music?
SPANDAU BALLET LIVE AT SXSW 2014
AND AT THE LOU REED TRIBUTE AT SXSW
CHEEKY CHAPPIES: THE WAY THEY WERE IN ’81