◼ “WHAT A GREAT WAY TO START A WORLD TOUR!” a beaming Steve Norman told the audience in San Francisco last night. “Thank you so much.” Spandau Ballet kicked off their 41-date Soul Boys of the Western World Tour at the 2,300-seat Warfield, built as a plush crimson vaudeville theatre in the 1920s, the same venue they played on their last US visit 31 years ago. And judging from the singalong audible on YouTube videos posted by fans, the night sounded a success.
Two more dates complete the California leg of the tour this weekend, much to the disappointment of fans in other parts of the US and Canada whose bookings were cancelled at short notice last week and rescheduled into April and May. Many had planned to fly in from other states and even other countries to attend. One Canadian diehard who had bookings for five concerts told us: “If I had known all this, I would have gone to London to catch the UK start in March.”
The band assure Shapers of the 80s that this decision had been taken by their American promoter. Last night sax player Steve Norman said: “I do understand that some people were put out, to say the least. Please give my apologies. It is a real shame.”
As for returning to the Warfield, Steve said: “It was an awesome night, felt like a second coming for all present. The energy in the room was electric. I guess expectations were high seeing as we hadn’t performed in the US for so long. But American fans are loyal and they made sure it was one of the most enjoyable Spandau shows of all time. I’m so looking forward to the LA gig tognight.”
Fans beyond California have a small compensation: Yahoo’s live online stream tomorrow night from the Wiltern Theatre concert in Los Angeles at 8.45pm (PT), and viewable thereafter on a seemingly indefinite loop 24/7.
First night at the Warfield: Click any pic to launch slideshow
➢ The first review is in from Jim Harrington
of Bay Area News Group:
“ The synthesizer and saxophone soared. Saccharine ballads and slick pop anthems were in ample supply. Folks dressed up like Crockett and Tubbs from Miami Vice. There was an old-school MTV sheen to the entire production. Most important of all, the lead singer’s hair was perfect. Man, I love the 80s.
And it felt like I got a second helping of the decade at The Warfield, courtesy of 80s hitmakers Spandau Ballet. . . The show was mostly about celebrating the past. Yet, the group also gave us reason to believe that Spandau Ballet might have a promising future …” / Continued online
➢ Steven Gdula in awe at the Warfield
for Dinosaur magazine:
“ The first seven songs included three new compositions, plus past hits Highly Strung, Only When You Leave and Round and Round. The performances were winning. At times blistering, even. So much so that my old indifference to latter-day Spandau Ballet compositions was replaced with more than just respect. I was in awe. Tony Hadley’s voice fits him better than ever at this point in his life, and his comfort level shows. His phrasings were sophisticated, sometimes lingering behind the beat, sometimes anticipating it, sounding every bit like the soul or jazz crooners he’s emulated. And when he allowed his voice to soar, no roof could have sealed it in. Steve Norman’s sax rides were likewise unstoppable, often to the point of competing with Hadley’s voice in the mix. The Kemp brothers — Martin on bass and Gary on guitar — were tight and musically stylish without being flashy, and John Keeble’s muscular drumming kept driving it all forward. . .” / Continued online
➢ New dates for Spandau Ballet’s North America live tour – starting 23–25 Jan in California but with other US and Canada concert dates rescheduled for April–May. Click through for complete list of world tour dates 2015.
UPDATE: AT THE WILTERN, LOS ANGELES
➢ Lina Lecaro is seduced for the LA Weekly:
“ The band’s first proper Los Angeles show in three decades did not go unnoticed. It sold out the Wiltern Theatre, and a second night was added. Saturday, the first of the weekend shows, the “boys” of Ballet had something to prove to LA and they did, bestowing their mostly thirty-and-fortysomething fan base with a set that was near perfection sound-wise and as visually appealing as anything they did back in their 80s heyday. And yes, by visually appealing we mean they still look good. Real good. . .” / Continued online