Bryan Ferry live at the Greek Theatre. Photograph Robert Gauthier / Los Angeles Times
❚ OUR MAN IN WEST HOLLYWOOD papped Bryan Ferry today snacking at the coolest pizzeria in town, Mozza on North Highland Ave (below). Last week of course he ended his first American tour in nearly a decade — with members of Duran Duran and Blondie in the Los Angeles audience on Saturday. The Olympia tour arrives in London with two gigs at the Shepherds Bush Empire on Dec 14–15.
“ Ferry’s show at the Greek Theatre in Los Angeles did more to promote the notion that he could be today’s greatest interpreter of songs from the rock era. That’s because the veteran crooner performed only two tracks from his album Olympia, instead devoting much of his set to performing songs made famous by other performers. That shouldn’t have come as too much of a shock, given that Ferry’s 2007 release was Dylanesque, an album full of Bob Dylan covers. Sure enough, Ferry wheeled out three songs penned by his Bobness — Just Like Tom Thumb’s Blues and Make You Feel My Love fairly early in the set, and a show-closing take of All Along the Watchtower.
“ In between, we got a blistering rendition of Neil Young’s Like a Hurricane, which closed the first set, a few soul nuggets — Wilbert Harrison’s Let’s Stick Together, Sam & Dave’s Hold On, I’m Comin’, an extremely sympathetic reading of John Lennon’s Jealous Guy, and a smoldering take of Screamin’ Jay Hawkins’ I Put a Spell on You… Saturday night, he proved to be the Frank Sinatra of the rock era. Instead of merely offering a carbon copy of the originals, when Ferry covers a song, he truly makes it his own. ” / continued online
➢ This week the Vinyl Factory released two remixes of the Olympia tracks Alphaville and Me Oh My in limited editions of 500 copies on heavyweight 180-gram vinyl, price £10.
+++ ❚ THE FIRST OFFICIAL VIDEO from the north London band Lux marks an impressive leap forward in musical confidence since their live debut in April. Though they call themselves an indie band, they are not guitar-led. Three nimble but self-effacing instrumentalists play second fiddle to the willowy male vocalist whose ethereal yearning defines a Lux tune and shapes the band’s signature. The languorous melodies are driven by Jesse Burgess, who would be gazing at his shoes if he’d come from anywhere north of the M25.
His wayward, mildly shouty delivery hints at Marc Almond, and nods towards Morrissey’s wistful introspection as the vowels stretch and float o-o-o-o’er vales and hills. It feels as if the tunes are improvised by the singer jumping aboard a lyric and treating it like an ethereal surfboard, half steering, half hoping for some turbulence his voice can mould into a theme…
Yet where the young Morrissey’s voice was informed by the pain of damaged romancing, Jesse’s is lighter, tentative and entirely innocent, that of the romantic virgin who has yet to distinguish tactics from emotions. Lux’s singer is required to withdraw into his solitude, like a latterday Greta Garbo, the ice-maiden of 1930s Hollywood movies who famously declared “I just want to be let alone”.
Lux vocalist Jesse Burgess: “I just want to be let alone”. Photograph by Shapersofthe80s
He does not sing of the usual teen dreams that guarantee chart hits. Lux’s two best songs do not embrace affairs of the heart. The studiously abstract lyrics to their first single Too Late to Fight — slated for an EP release soon — fret over mistakes and hesitations within unspecified friendships. “There’s no escape, I need some solitude,” Jesse sings. Nothing so poetic as Morrissey’s “running rings round a fountain”, Lux lines are open to as many interpretations as people in the room. Another neatly self-aware song titled Too 17 recognises how speedily we leave one phase of teendom while knowing we face a couple more years of shedding tears before life falls into place.
So it may seem shrewd that the video for Too Late to Fight gives this song a playful visual treatment to assure teen audiences that the soulmates in the band are actually an unstuffy bunch of regular lads. Its production does, however, come from the school of Blue Peter DIY and sends out mixed messages. When the four-piece are making cool sounds onstage or in a studio, they are as focused as any of the mentors their rhythm guitarist and songwriter Fin Kemp says he admires: Blur, Libertines, Arctics. The singer Jesse has described Lux as “indie with a bit of bluesy American soul.” Like the White Stripes? “Yep. Well, not as cool as them.”
In fact, off-stage, not cool at all. The video intermittently cuts to the lads larking around in the carefree suburban streets and parks of London NW6. They gurn to the camera like the hammiest kind of pop group invented with the Monkees in the Swinging 60s. TV fans of Jesse Burgess, whose second career is modelling, have discovered his penchant for flashing his bare bum in E4’s reality series Dirty Sexy Things — and this video predictably obliges.
Such horseplay points them onwards into the valley of pop. This video makes no attempt to reflect the songwords or the often affecting plaintiveness of the vocals. Yet the closing sequence does declare some indie intent. We find the four musicians engaged in giving a tight live performance and by now we can appreciate their sound as intriguing and memorable. Lux music has more personality than the individuals seen making it — which is curiously reassuring.
Lux’s own website says: “Their sound has been described as indie punk soul.” Three admirable goals.
The Playboy of the Western World: Robert Sheehan makes his stage debut as Synge’s anti-hero Christy Mahon, seen here with Ruth Negga as the vindictive Pegeen Mike. (Photography Manuel Harlan)
❚ THIS THURSDAY LUNCHTIME songwriter Gary Kemp becomes a theatre critic in a live a panel discussion taking place onstage at the Criterion Theatre on Piccadilly Circus in London. Critics at the Cri is a live monthly review, featuring Britain’s leading critical voices who will debate three recent theatre openings in and around London. As a joint initiative by the Criterion and What’s On Stage, each discussion takes place on the first Thursday of the month at 1.15pm, lasting for 45 minutes. The session aims to open up the conversation for the audience to engage with the guest critics.
Gary Kemp: popstar, songwriter and acclaimed autobiographer
On October 6, the opening panel includes theatre critics Michael Coveney and Patrick Marmion, BBC Culture Show theatre presenter Clemency Burton-Hill and special guest Gary Kemp, reviewing three very different openings: Mike Leigh’s latest play Grief at the National Theatre, the Broadway transfer Rock of Ages the Musical at the Shaftesbury Theatre, and J M Synge’s Irish modern classic from 1907, The Playboy of the Western World at the Old Vic Theatre. Tickets cost £7.50 in person from the Criterion box office but Kemp fans will find that Spandau Ballet’s website has a special offer. Critics at the Cri Two is scheduled for Thursday Nov 3 at 1.15pm.
❏ Update: On Tuesday Gary Kemp collected a BMI Multi Million Award for his hit True with Spandau Ballet in 1983. This makes the song one of the most played songs on US radio and TV, which is rare for a recording from the 1980s.
The London cast of Rock of Ages: the musical is set in 1987 on the Sunset Strip, where a small-town girl meets a big-city rocker in LA’s most famous rock club
+++ ❚ SPANDAU BALLET VOCALIST TONY HADLEY displays his own considerable songwriting skills on video for the first time as he performs his own rocking new song My Imagination at House of Blues on Sunset Boulevard, Hollywood, Ca, on August 16. This was his third solo gig, backed by his own band that includes drummer John Keeble, during their first US tour this week. (Video by mmmmpopmuzik)
Chant No 1 by special request: Tony Hadley onstage last night in New York with Richie Barrett on guitar (verbalalchemy video)
❚ LAST NIGHT AT IRVING PLAZA IN NYC Tony Hadley rattled through a 17-strong set list on which seven were Spandau Ballet hits, and this reviewer, The G, was impressed with the rockiness of the other numbers he covered …
John Keeble: laying down the tempo last night in NYC (verbalalchemy)
“ I had a blast seeing Tony Hadley’s first ever solo show in the United States! The former lead singer of Spandau Ballet has just launched his first solo tour of America and it kicked off at New York’s Irving Plaza on August 13, 2011.
“ Tony Hadley looks and sounds great. He hits all the high notes and sounds as great as he did in the 1980s when Spandau Ballet ruled the airwaves. Over the course of his show, he played quite a few covers of some of his favorite songs, performed some beloved Spandau Ballet songs and also performed a new song called My Imagination. As Tony promised in a recent interview with According2g, the song is a rocker.
“ In between, the crowd was shouting “We love you Tony” and there was a lot of love in the room… ”
❏ At Tony’s Facebook page Hoory Kajajian-Yeganeh writes: “Great show @ Irving Plaza last night. What a voice! What a fabulous performance! Thank you :) ” ❏ Terry Hunter writes: “He was BRILLIANT. No one like Tony…anywhere, EVER.” ❏ Tony Thomas writes: “Tony knocked it out of the park that night. Great show.”
+++ ❏ At Tony’s Facebook page Heather Ann Cummings writes: “Hi Tony, Saw your WONDERFUL concert at North Halsted Market Days, Chicago, Sunday afternoon. The best! Your group was so good too. Thank you for taking the time to sign your photo and interview that appeared in this week’s Windy City Times. Your song choice was amazing and Through the Baricades had me with tears in my eyes. I’ve also adopted your song Live, Let Live and Love as my mantra and am passing it on.” ❏ Heidi Herman writes: “Tony, you were scorching in Chicago today. Your voice is so beautiful and powerful and the same time — amazing! I still can’t believe I saw you perform after all these years of being one of your most adoring fans. My friend and I were impressed with your charm, wit, and sincerity. You are classy gentleman and so very humble for someone so talented and well-known. Thank you, Tony.”
AUG 16, THAT’S LIFE: A BLISTERING CLOSE TO TONY’S SHOW AT HOUSE OF BLUES, HOLLYWOOD
+++ ❏ At Tony’s Facebook page Glenisha Jones writes:“Iam floating on a cloud after seeing Tony Hadley perform for the first time! It was amazing, fun, brilliant & it will be in my heart forever :) Tony hasn’t changed. He is still handsome & his voice is even more beautiful. Thank you Tony for coming to LA.”
Setlist for Tony Hadley at House of Blues Los Angeles, Aug 16 (posted at Facebook by Rissa Dodson)
❏ Kedric Hubbert writes: “Saw u last nite in Los Angeles. U were amazing. I got my 2 fave songs To cut a long story short & Lifeline. My friend marc were in the front singing all the words. Come back soon & bring john (again) & maybe even steve, martin & gary along for the ride… brilliant show. Thank u!” ❏ Jill Bonnell writes: “Fabulous show last night at House of Blues Sunset Strip” ❏ Richard Peacock writes: “Thank you again for coming back to the States to spend a night with your true fans. I can’t believe I had the honor of seeing one of my teen idols live on stage… for me it was exactly like seeing Elvis live and in person. Only in a very English way. We love ya Tony.” ❏ Cleo Dla writes: “You definitely rocked tonite at the HOB show in LA. Loved the set but wished you could have played another hour. You still sound incredible after all these years. I hope you return soon. Have a kick ass rest of the tour” =)
Tony Hadley in Las Vegas: wowing them at the Fremont Experience on his US tour, Aug 20. Picture from T’s Facebook album
❏ Wendy Chouinard writes at Facebook: “Thank you for such a great show in downtown Las Vegas, Tony. Remember to use a humidifier when you come back into town.” ❏ Michael Vigil writes:“Tony, thanks for your fantastic, heart-felt performance in Las Vegas last night. You were amazing. Good to see John Keeble as well. You guys didn’t disappoint despite the Las Vegas heat. A memorable hot August night. Thanks so much.”
JK signing after the Vegas show: video grab by patiently88 who also shot the Suspicious Mind vid in Ramona
❏ Nils Arvidsson writes: “Thank you for a fantastic show in Vegas last night. Tony, you are the man. You kept your suit on in spite of the temp being right around 100 degrees. You sir, are one debonair guy! Next time you come to Vegas I hope it’s a bit cooler for you. Cheers.” ❏ Anna Prado-Frias writes: “Amazing show in Vegas. Thank you so much for the chat w/my husband and I. Also for the picture. Can’t wait for the next performance and CD. Best of luck on your future shows.” ❏ Tim Mancuso writes: “Great show — caught Tony Hadley in Las Vegas — WOW, what a talented singer and performer. 1st time back to the States since 1986 with Spandau Ballet — was blessed to hear him and see the show. Thanks for giving it all you had Tony, was most excellent.” ❏ Lisette Garcia-Kohler writes: “Yes, Las Vegas really loved you. What an amazing night! One I will never forget since so many memories were relived with your songs. Thank you, thank you, thank you.”
AUG 21, RED DEVIL LOUNGE, SAN FRANCISCO
❏ Shivaun O’Neill writes: “Awesome show at Red Devil Lounge tonight; thank you for playing in San Francisco.” ❏ Phyllis Mesquita writes: “Great show at Red Devil last night, hope you return.” ❏ Stu Sperling writes: “Saw the concert last night at Red Devil Lounge. They put on a great show. Tony has an amazing voice. Side note, my wife and I were walking around Union Square this afternoon and spotted drummer John Keeble. We walked over to tell him how great the show was. He could not have been nicer. Hope they come back to the states soon.” ❏ Nellie Jones writes: “Thank you for being so kind to your fans and letting us take pictures with you. You have barely aged — you wouldn’t be another Dorian Gray would you? Hope to see you back at the Red Devil Lounge soon. Feel free to bring the other band members as well.”
➢ NEXT STOPS — Sep 2, Rewind Scarborough UK… Sep 4, Cantazaro, Italy… Oct 26–Nov 4, various dates in Australia… Nov 12, Abu Dhabi
➢ 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
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