❚ THAT’S THE WAY TALENT CONTESTS CRUMBLE. One minute you’re flavour of the week. The next, you’re out. That’s the way Saturday primetime TV crumbles too. The show is called The Voice. It’s not called The Star. So although glam-rocker Jamie Lovatt radiated tons more charisma than the awkward bloke from the pub, Chris Royal, who was wearing his Auntie Mabel’s pinafore under his jacket, the bloke won this week’s vocalists face-off because apparently, according to coach Ricky Wilson, you “can’t learn the kind of emotion he can portray in a song”. (Even while wearing a pinafore and a twat-Kevin baseball cap back to front. In 2014! Per-lease!)
The pair were billed as Emotion vs Power and powerhouse Jamie was sent packing back to his band Romance, whose bookings have suddenly sky-rocketed thanks to his TV appearances, so that can’t be bad. Pop goddess Kylie did bid him goodbye saying: “Everybody’s going to fall in love with you. You already have it all. Run with it.” Fact is, Jamie has all the attitude to be the next Adam Lambert and a better rock voice than the falsetto bloke from the pub, so long as he chooses better rock songs by real rock writers than the Adele number he nobly had to get his vocal cords round on Saturday night.
The fan: Kylie the coach who could have recruited Jamie, but didn’t
The coach Ricky Wilson: the man who drowns kittens parts company with Jamie
The exit: Will.i.am, Kylie and Sir Tom Jones are fascinated to the last
After Ricky the coach had passed verdict on which of his two protégés was staying in the contest, he totally bottled out of making eye contact with Jamie in their kissy-huggy moment of parting, and mumbled one of those reality-show platitudes: “Life is made of big decisions. You made a really big decision. I had to make one too.” He did look choked, to be fair for one second, but he did also look like the man who drowns kittens in a sack, and turned away utterly shame-faced. The best bit was Jamie’s flouncy exit during which the other three judges beamed benignly behind him and couldn’t take their eyes off his defiant strut.
Today, Jamie posted this equally defiant new cover of Paul Weller’s Brand New Start, videoed beneath chintz lampshades while perched on a cushion. Two fingers up to suburbia.
The defeated Norman, Keeble and Hadley outside the law court 1999: “You can see on our faces Spandau Ballet had just come to an end”
Hell freezes over as an interviewer asks: “Gary, you’ve been referred to as the driving force. What is the input of the others in the group?” Tony Hadley: “Ah-ha-ha!”
❚ WHAT A HAIR-SHIRT OF A TRAILER!Nettlesome would be a good word for the first glimpse we’ve been given this week of Soul Boys of the Western World, the warts-and-all biopic about the rise and fall (and rise again) of Spandau Ballet, which premieres next week at SXSW in Texas. The trailer rattles through the glorious birth pangs of a new fashion-and-music scene in the 80s and screeches to a standstill at the gaping open wound when the band decided in 1989 they really didn’t like each other any more.
For 20 icy seconds hairs rise on the back of your neck. A direct question in a TV interview blows a hole in Spandau’s credibility – Tony Hadley simply laughs, “Ah-ha-ha!” Before a another interviewer, the Kemp brothers dissemble about their acting ambitions. After a battle over money, three band members leave the law court defeated. And lifelong friendships wither before our eyes. John Keeble said this year: “It’s very honest and very difficult. It’s a film about redemption.” By God, it had better be.
“These guys talk funny, right?” – Best of friends since their schooldays, Spandau Ballet star on Soul Train in 1985, at the height of their American fame
❚ “I DIDN’T KNOW I WAS GOING to turn round and see this rock god dude!” said Kylie Monogue on The Voice UK on Saturday night. The dude in question had delivered his own steady but highly emotional and emphatically rock reinterpretation of Rozalla’s acid house smash Everybody’s Free to his own twangy Rickenbacker guitar. By his hollering climax the studio audience were on their feet and two of The Voice’s four celebrity coaches had spun their chairs in hopes of recruiting him: superstar Kylie Minogue and Ricky Wilson (“the bloke from Kaiser Chiefs”). Within minutes the dude had opted to join Ricky’s team as its final member, before the BBC TV talent contest’s real battles begin next week.
An hour after transmission he posted on Facebook: “Who saw me then eh? SURPRISE.” Jamie Lovatt, cocky 24-year-old face about Shoreditch where he runs a bar, was back. The frontman for the once glam-goth band Romance, since restyled as tribal “cabaret rockers”, had definitely stolen the show, even though the acts auditioning blind on Saturday were a cut above previous weeks, because most proved to be seasoned performers with terrific voices. This dude also looked like nobody else within miles – an eyeful of androgynous 80s glam, Jamie sported long blond hippy hair and eyeliner, a gold crocheted clingy top, snakeskin trousers and cowboy boots. His style is a fusion of Prince, Billy Idol and the 80s postpunk shamanists Death Cult, though the TV audience was spared his usual stage gambit of performing shirtless.
For those of us who’ve known Jamie since he deejayed in London’s fashionable Neo Romantic clubs, the fierce TV act was a surprise metamorphosis from the once shy teenager (off-stage!), through the frenetic vocalist onstage with Romance, to this assured showcase cover version bursting with intense feeling which Kylie and the other coaches sensed immediately. Almost 90 seconds into the number, Ricky hit the voting button and six seconds later Kylie followed.
She was full of admiration: “I liked the emotion in your voice. I don’t know if you always sing like that but the fact that you have the ability to sing like that is very moving.”
What set Jamie’s interview apart was the sadness that brimmed within him as he told how Romance’s first lineup had been torpedoed by ill health and their four-album record deal was cancelled when the label dropped the band in 2011. “I lost management, I lost everything.” But not his faith to carry on.
The coaches rallied. Will-i-am said: “As far as getting dropped, guess what? They lost.” And the audience cheered. Tom Jones paid a couple of quiet complements that were evidently heartfelt. Ricky had been there himself: “I know what you’ve been through. I’m in a band… and we lost a record deal.” Lucky Jamie was able to pick which team to join and as he stepped from the stage it was noticeable how all four coaches crowded in for a piece of him. He’d been dignified, determined and, incredibly, said “Thank you” more times than you’d expect from a self-declared “lone wolf” rocker.
Some think a shiny-floor TV talent show might undermine a rock singer’s credibility, but Jamie is a 21st-century man and believes it’s the only way to crack the industry these days. He told The Sun: “People don’t think of someone like Jagger or Jim Morrison going on these shows but if you were to take them at the age they were discovered and have them living now, would that happen?”
Today was spent doing the rounds of the media as a hot TV property. What’s the question they were all asking? Answer: “How did it feel?” Jamie told Shapersofthe80s: “All I can say is it was surreal then, and from all the support I have received, it’s even more surreal now! Absolutely overwhelming, humbling and shocking. I can’t thank everyone enough… Didn’t think this would happen at all. I’m really moved!”
Macnee and Hendry as The Avengers in episode one, Hot Snow, 1961: they set out to avenge the death of the fiancée of David Keel, played by Hendry
❚ DANIEL PATRICK MACNEE IS 92 TODAY – congratulations! And the keen nudist and actor best known as TV’s secret agent John Steed was spotted yesterday collecting the mail from from the end of his driveway in La Jolla, Southern California. Suave old Etonian Macnee, who became an American citizen in 1959, came eventually to define the spy series, The Avengers. Yet from its first episode in 1961 – broadcast live in black and white – the show’s initial incarnation was as a gritty cops-and-robbers drama, when Macnee played second fiddle to the uber-cool Ian Hendry, for whom the role of Dr David Keel was created.
As an in-demand star of film and TV, Hendry quit after the first 26 hour-long episodes when industrial action held up production, to star in the film Live Now, Pay Later. Macnee inherited the leading role and the rest is Swinging 60s history. His trenchcoat gave way to bowler, brolly and Pierre Cardin suit. The Avengers ran eight years until 1969, becoming jauntily more tongue-in-cheek and making stars of Honor Blackman, Diana Rigg and Linda Thorson as Steed’s assistant. Then a brief revival, The New Avengers (1976–77), saw Steed teamed with Joanna Lumley and Gareth Hunt whose careers also went stratospheric.
Handsome, sexy and compassionate, Ian Hendry was one of British television’s first idealised heroes. Health issues cut short his life at the age of 53, his last public appearance being on This Is Your Life, which reunited him with Macnee.
“The thing I’m really proud of is that I never carried a gun. I said that I wouldn’t carry one; when they asked me why, I said that I’d just come out of a world war in which I’d seen most of my friends blown to bits. In a way, I was politically correct at that time.”
Dame Diana Rigg, DBE, whose Avengers action woman Emma Peel from 1965 to 1968 proved the generator of a huge fan following, was once described by TV chat-show host Michael Parkinson as “a lustrous beauty”. Her range from comedy to serious drama puts her in the world-class league of respected British thespians. Last year she guested in two other cult TV series, Game of Thrones and Doctor Who, and today she still gives sharp and candid interviews at 75.
Diana Rigg and Macnee as The Avengers,1965–68: Emma Peel was equally at home in a Quant mini-skirt, a leather cat-suit or mod-girl outfits styled by John Bates
◼ SHAPERS OF THE 80S TELLS THE DEFINITIVE STORY of a subcultural revolution in British music and style 30 years ago. Its detonator was a youthful blast of impossible trendiness and its stars didn’t call themselves New Romantics, or the Blitz Kids – but other people did. This site gathers together the eye-witness journalism and photography of one observer who knew a good time when he saw one and was published in the coolest titles of the day.
Now in its fifth year, this site has attracted a total of 722,500 views since its launch, according to year-ending WordPress stats. The figures also identify the 20 most widely read items out of more than 600 posted here. Most of these pieces were first published back in the day, but seven of the Top 20 items reflect the continuing interest expressed through the recent 80s revival. In many ways, London is again displaying all the symptoms of being the world’s most swinging city, as it was in the 60s and the 80s, when there were a galaxy of reasons to hit the town every single night of the week.
The difference seven months made: In May 1980 The Face launched with Jerry Dammers of the Specials on its cover. By November the new direction was Bowie plus a feature on The Cult With No Name, as the New Romantics were first known
Left, real Blitz Kids – right, the TV version… George’s boyfriend Wilf and fashion student Stephen Linard in 1979 (picture, Andy Rosen)… Daniel Wallace as a Linard lookalike and Douglas Booth as Boy George in Worried About the Boy, 2010 (BBC)
Seminal spread in i-D issue one: the straight-up style of photography is established with, at left, one then unknown New Romantic and, right, one punkette. Photographed on the King’s Road by Steve Johnston
➢ Choose “View full site” – then in the blue bar atop your mobile page, click the three horizontal lines linking to many blue themed pages with background article
MORE INTERESTING THAN MOST PEOPLE’S FANTASIES — THE SWINGING EIGHTIES 1978-1984
They didn’t call themselves New Romantics, or the Blitz Kids – but other people did.
“I’d find people at the Blitz who were possible only in my imagination. But they were real” — Stephen Jones, hatmaker, 1983. (Illustration courtesy Iain R Webb, 1983)
“The truth about those Blitz club people was more interesting than most people’s fantasies” — Steve Dagger, pop group manager, 1983
PRAISE INDEED!
“See David Johnson’s fabulously detailed website Shapers of the 80s to which I am hugely indebted” – Political historian Dominic Sandbrook, in his book Who Dares Wins, 2019
“The (velvet) goldmine that is Shapers of the 80s” – Verdict of Chris O’Leary, respected author and blogger who analyses Bowie song by song at Pushing Ahead of the Dame
“The rather brilliant Shapers of the 80s website” – Dylan Jones in his Sweet Dreams paperback, 2021
A UNIQUE HISTORY
➢ WELCOME to the Swinging 80s ➢ THE BLOG POSTS on this front page report topical updates ➢ ROLL OVER THE MENU at page top to go deeper into the past ➢ FOR NEWS & MONTH BY MONTH SEARCH scroll down this sidebar
❏ Header artwork by Kat Starchild shows Blitz Kids Darla Jane Gilroy, Elise Brazier, Judi Frankland and Steve Strange, with David Bowie at centre in his 1980 video for Ashes to Ashes
VINCENT ON AIR 2026
✱ Deejay legend Robbie Vincent has returned to JazzFM on Sundays 1-3pm… Catch up on Robbie’s JazzFM August Bank Holiday 2020 session thanks to AhhhhhSoul with four hours of “nothing but essential rhythms of soul, jazz and funk”.
TOLD FOR THE FIRST TIME
◆ Who was who in Spandau’s break-out year of 1980? The Invisible Hand of Shapersofthe80s draws a selective timeline for The unprecedented rise and rise of Spandau Ballet –– Turn to our inside page
SEARCH our 925 posts or ZOOM DOWN TO THE ARCHIVE INDEX
UNTOLD BLITZ STORIES
✱ If you thought there was no more to know about the birth of Blitz culture in 1980 then get your hands on a sensational book by an obsessive music fan called David Barrat. It is gripping, original and epic – a spooky tale of coincidence and parallel lives as mind-tingling as a Sherlock Holmes yarn. Titled both New Romantics Who Never Were and The Untold Story of Spandau Ballet! Sample this initial taster here at Shapers of the 80s
CHEWING THE FAT
✱ Jawing at Soho Radio on the 80s clubland revolution (from 32 mins) and on art (@55 mins) is probably the most influential shaper of the 80s, former Wag-club director Chris Sullivan (pictured) with editor of this website David Johnson
LANDMARK FAREWELLS. . . HIT THE INDEX TAB UP TOP FOR EVERYTHING ELSE