Tag Archives: Spandau Ballet

2019 ➤ The nerve of Neil Matthews! Offering bunny ears to those oh-so cool Eighties pop stars

Photography, book launch, exhibition, pop music, Neil Mackenzie Matthews, Jealous Gallery, Take That,

Take That in 1993: cheering to camera for a Smash Hits shoot by Neil Matthews

ANOTHER FAB BOOK OF PHOTOS capturing mainly the 80s pop scene came out this week and it’s a bit of curio. We who were there know how British music and fashion utterly transformed youth culture during the decade from 1980 onwards and among the 110+ new acts who dominated the sales charts in the first four years probably the majority achieved international fame and fortune. But Neil Mackenzie Matthews, in his beautifully printed 192-page book, titled Snap: Music Photography, also reminds us of the names of many acts we have forgotten and who had limited success.

It has become a truism that soon after the Beat Route’s Friday club-night opened in Soho and Spandau Ballet entered the singles chart, both in November 1980, virtually every young guy you met in the club was “putting a band together”, usually managed by another young guy of his own age. For every 110 new-wave acts across the UK who won the standard one-album-and-two-singles deal from a grateful record industry which had lost its way, there were probably 1,000 more who didn’t – yet they too were a vital part of the great collaborative force that was helping to reshape entertainment and media in the Eighties.

At Thursday’s book launch in Shoreditch’s Jealous gallery, Neil described how his own good luck was in attending the same Islington school as the Spandau Ballet posse, Dame Alice Owen’s, and at the very moment he missed getting a first job at the BBC, Spandau invited him to St Tropez on their first foreign booking so he took a camera along and taught himself how to shoot.

Photography, Nick Heyward ,book launch, exhibition, pop music, Neil Mackenzie Matthews, Jealous Gallery,

Neil Matthews and Nick Heyward photo-bombed by Neal Whitmore of Sigue Sigue Sputnik. Just in shot at left, Heyward pictured in his woolly leggings period with Haircut One Hundred. (Photo by Shapersofthe80s)

Click any pic below to enlarge all in a slideshow

As luck had it, within months Tim Lott and Barry Cain’s chirpy new music magazine Flexipop decided its irreverent role was to prick the egos of their mates, the newly jumped-up pop stars, and Neil as its photographer was expected to rewrite the rules of the game. This appealed to his own wild ways and because he was invariably working against the clock, he injected a note of spontaneity into popstar shoots by inventing a box of larky props with which to confront his celebrity models and expect them to respond on camera. Result: pix of Toyah Willcox all smiles in floppy bunny ears, and Ian McCulloch contemptuously prodding the matching bunch of carrots after he declined to wear the bunny ears. There’s also Edwin Collins canoodling a rubber chicken and Jaz Coleman delivering a blunt message in a book to his rivals.

Impromptu set-ups catch Suggs at a fruit and veg stall on the street, Tim Burgess atop a packing case in Tesco’s, and Malcolm McLaren doing business on the phone. The book features several candid snaps following the rise of Spandau Ballet and the New Romantics including an exclusive of Steve Norman sporting speedos at home in the lounge between his fishtanks and Harry Dog. Neil offers very few live performance pix but the two best capture Little Richard bantering atop his piano and a fleeting glimpse of Nick Heyward closing his eyes in an Albert Hall performance.

Some of Neil’s best straight portraits take a traditional approach and yet clearly capture a shared moment of trust between subject and lensman: we see sexy candid shots of Madonna relaxed, of Betty Boo sultry in leopardskin and of Beyoncé Knowles as a very come-hither 17-year-old before she dropped the surname. For me the two cracking shots in this book show Take That snarling something worse than “Cheese!” at the camera (top), and Jay Aston of Bucks Fizz seated on the loo in her hotel (below). If that doesn’t testify to trust what does?

PS: Sorry, Neil, I have to reveal that I scooped you with the “first” kiss between Jon Moss and Boy George wearing Westwood a full year before Culture Club and your own shot where they both wear Sue Clowes.

Photography, book launch, exhibition, pop music, Neil Mackenzie Matthews, Jealous Gallery, Jay Aston

Jay Aston 1984: caught at her hotel by Neil Matthews

➢ Neil MacKenzie Matthews’ career went on to embrace fashion, international celebrity and advertising, but his book Snap: Music Photography (Red Planet, £30 in hardback) focusses essentially on the music scene

➢ Neil Mackenzie Matthews’ prints are visible online and for sale at the Jealous Gallery, 37 Curtain Road, EC2A 3PT

➢ View Neil’s wider portfolio at his own website

HEYWARD THE LEGEND BACK ON THE ROAD

Nick Heyward, live, Gibson Sunburst

Nick with his Gibson Sunburst 330, 1967

❏ One incidental pleasure at the gallery was to catch up with Nick Heyward for the first time since I snapped him with his sidekick Les as Wag club regulars a lifetime ago. Today he features in a daffy trio of Neil’s pix of Haircut One Hundred from 1982 and he’s as friendly and talkative as his ever-present smile suggests. He has been on the road this year with his UK Acoustic Tour, a series of intimate dates where audiences were treated to hits from his breezy and escapist seventh solo album, Woodland Echoes, plus others from his entire career. The album is a distinctly musical treat which Pop Matters reviewed as “a timeless, infectious gem”, adding: “He looks like that cool college professor all the students want to hang out with – and he seems to be at peace with his status as a 50-something indie pop legend”. More news at Nick’s own website .

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➤ Ross leaps out of the Ballet into the cauldron of grunge

Officialmercutio, Fabio Staffieri , Ross William Wild, Dingwalls, Camden Rocks Fest, reviews, grunge, Rock music,

Moment of bromance for Mercutio: Fabio and Ross nuzzle each other like wild beasts onstage at Dingwalls

TODAY “Ex Lead Singer @spandauballet” Ross William Wild fronted only his second gig with his new band Mercutio whose sound is “Nirvana-esque mixed with Muse – very much metal with melody”. Playing Dingwalls this afternoon, Ross’s emotional vocals seemed wrenched from his soul, drenched with introspection and yet were fierce in their delivery.

The first of six mainly melancholy songs from their new album made a big opener presumably titled by Ross, Where the Pain Lies, with two fingers aimed squarely at the Spandau gang who have recently spurned him. In other numbers such as Shed and Playtime the tall muscled Scot twisted and contorted his body, stamping, pogoing, even throwing himself to the floor, as if being tortured by demons from within. There was also a bromantic moment when Fabio and Ross nuzzled each other’s backs like wild beasts.

Francesco Lucidi, Rock music, Rocketman,

Francesco moonlighting from Mercutio

Ross’s performance was infinitely more physical than his outings last year with Spandau Ballet – the UK’s supergroup from the Swinging 80s – and the tiny Dingwalls stage clearly cramped his style. Just relaxing a bit might help establish rapport with the audience nearest to him instead of reaching for the back of the room.

The Dingwalls sound system did his voice few favours, though at its most romantic his relatively high register succeeded superbly against the essential grunge vibe, as in the song called Alex, and became sorrowfully plaintive in the medium-pace closing number The Ghost.

The support from his new Italian pals is strong: Naz on bass provides a melodic anchor through even the quietest moments, while Fabio on guitar dazzles frequently when the tempo needs raising, as does Francesco who you may recognise playing Elton John’s drummer in the current biopic Rocketman. The band’s first video is expected next week.

Francesco Lucidi, Emanuele Nazzaro, Fabio Staffieri , Ross William Wild, Dingwalls, Camden Rocks Fest, reviews, Officialmercutio, grunge, Rock music,

Mercutio at Dingwalls: Ross centre-stage in his second live gig with the new band

Emanuele Nazzaro, Ross William Wild, Dingwalls, Camden Rocks Fest, reviews, Officialmercutio

Mercutio at Dingwalls: Ross on acoustic guitar, Naz on bass

➢ All about the Italian-Scottish four-piece called Mercutio

6 JUNE UPDATE: ROSS’S FIRST VIDEO POSTED ON THE ANNIVERSARY OF HIS SPANDAU DEBUT!


❏ Double fierce!For a second I thought I’d found my place.” Ouch!!!

➢ Previously at Shapers of the 80s: Spandau vocalist Ross rocks fans by announcing his own new band Mercutio

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2019 ➤ Another Spandau bombshell – Kemp Brothers drive out Ross their ‘perfect’ new singer

Pop music, New Romantics, Blitz Kids, Spandau Ballet, Ross William Wild, breaking news,

Oops, there goes another singer, airbrushed out of history. Denis O’Regan’s official photo of Spandau Ballet with their new recruit Ross William Wild, shot last summer at Subterania. Who’s laughing now?

[UPDATE 28 MAY: SEE RESPONSES BELOW
FROM BOTH ROSS AND STEVE NORMAN]

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SPANDAU BALLET HAVE FROZEN OUT Ross William Wild, the new vocalist they called a “perfect fit” when they recruited him last year. Following his first public performance last June, bass guitarist Martin Kemp declared: “We’re playing with more vigour than I’ve ever heard from us, and I think that’s because of the way he sings.” What Ross’s romantic stand-out voice brought to the samey old Spandau repertoire was some much-needed freshness. Now, a matter of months later, there are suddenly no plans for any more performances. And there hasn’t been one word of apology to Ross or the fans.

To add insult to injury, not one member of Spandau or its management has explained the events leading up to their furtive decision to freeze Ross out when it became sensationally but indirectly a major news story on Thursday. As an afterthought in a seven-minute interview on other topics for the ITV show This Morning, Spandau’s Mr Nice Guy Martin Kemp broke the news by implication, but without even saying out loud that Ross would no longer be working with them.

Giving only one reference to Ross as “a lovely man, lovely singer”, Martin just started musing out loud: “We tried [Ross] for about six or seven shows through Europe and it was great fun. But what I kind of started to realise was what people really want is the five of us together…” [Implying the five that includes Spandau’s original vocalist Tony Hadley, without even using his name]… “I think what we should do to be fair is to put it into a box and let it sit there until that happens.” Sorry, Martin. Did you really say all that? About a box?!?! (Answer: Yes. Listen to your interview below.)

Pop music, New Romantics, Blitz Kids, Spandau Ballet, Ross William Wild, breaking news,Phillip Schofield, Holly Willoughby , ITV

Click on pic to view video in new window: Martin Kemp talking to Phillip Schofield and Holly Willoughby on This Morning, 23 May 2019 © ITV

OR LISTEN TO THE CRUCIAL 99 SECS OF MARTIN’S ITV INTERVIEW:

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This feeble stream of consciousness was about to wreck another man’s career, yet without any words of sympathy for Ross, Martin added: “If one day the five of us [meaning Hadley] can talk and get back together it would be wonderful.” He confirmed that they will not be touring Spandau “until Tony comes back”! (Fat chance, given Tony’s own frequent pronouncements.) Martin then rubbed yet more salt into Ross’s wound: “I would love it to happen because it is part of me. It is part of my soul. I would do it tomorrow. But it means all five of us saying yes at the same time.” Ouch, as the sixth man might have said again!

All of which forces us to assume that, oops, after a year recruiting and rehearsing this new vocalist into their 40-year repertoire, the band didn’t think much of Ross’s efforts despite having billed and cooed after his first showcase at Subterania last June when Martin said: “Ross is a perfect fit for Spandau, and brings a new younger energy to the band that we are all enjoying!” Ross attracted enthusiastic reviews from critics (including Shapers of the 80s), as did October’s major London gig at Hammersmith’s Eventim Apollo – the purpose of which was to impress the industry and fill Spandau’s 2019 diary with major festivals and prestige dates. One obstacle to this was that in May 2018 Gary Kemp had already started jamming with Nick Mason’s Saucerful of Secrets, which offered him an alternative future.

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ROSS PUTS HIS CASE

28 MAY UPDATE: Singer and actor Ross William Wild has been in touch with Shapers of the 80s to say that after months of being cold-shouldered, it was he who quit Spandau Ballet. He was still waiting for a response when Martin Kemp started talking about getting Tony Hadley back into Spandau during Thursday’s ITV interview. Ross says: “I’d put my whole life on hold and was sick of waiting around for them to make up their minds. I told the boys I was quitting and then never heard back from them, apart from Steve, who’s had my back since day one. I love Martin as a friend and always will do, but the way things were put out on TV made me feel like crap.”
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28 MAY: Spandau’s sax player Steve Norman has also written to clarify his position: “With regard to these recent revelations from Spandau Ballet, I want to make clear that I was neither involved in nor informed of any discussions or decision-making regarding the future of my band, least of all Ross’s position in it. I will add that, as a founder member of Spandau Ballet and as a friend of all band members (past and present), I’m so very disappointed and saddened by the handling of it.

Ross has put a lot of work, love and dedication into our band and I have enjoyed immensely performing with him. He is not only an amazing singer and entertainer but has also became a dear friend. Therefore I will still be performing the odd gig with Ross in the future (eg, Berlin in September). And as for the future of Spandau Ballet? To quote my own lyrics from Once More: “Never say never…”
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1 JUNE: Earlier this week Shapers of the 80s invited both Spandau’s drummer John Keeble and manager Steve Dagger to offer their versions of events but so far we have heard nothing.
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❏ Back to Thursday. At 6:15am, Ross himself was the first to post the plain unadorned truth – with familiar echoes of Tony Hadley’s exit in 2017 – by also turning to Twitter to say: “I have formally quit the band Spandau Ballet to pursue my own music with my band Mercutio.” Ross added that its new single is pointedly titled Where the Pain Lives.

A collective howl of anger and indignation went up from Spandau fans and anybody else with a sense of decency. It took 24 hours before the band’s management confirmed the news officially on social media, by that stage prompted to offer belated thanks to Ross for his musical contribution last year. They had also removed Ross’s photo from the headers of their websites, though Ross’s own still say “Lead Singer @SpandauBallet”.

Pop music, Mercutio, Spandau Ballet, Ross William Wild, breaking news,

“Do I look bovvered?” – Today’s Facebook video of Ross aboard a swank yacht

Only two months ago, fans intuitively suspected a silent howl of pain from Ross when he suddenly announced that he had joined a new band called Mercutio, though insisting he was merely filling time before the next Spandau tour (read our exclusive report here at Shapers of the 80s). With hindsight, all these events smack of non-disclosure agreements having been signed, so let’s hope Ross has walked away with at least a thumping great payoff as some kind of compensation for his humiliation. Today Ross is putting on a brave face by showing a video at Facebook of himself aboard a swank yacht somewhere in the sun as if to say “Do I look bovvered?”

Tony Hadley will be laughing loudly at the irony of what we must assume was a yet another clash of egos back-stage. Last October he outflanked his former mates only days ahead of Spandau’s Next Line tour which showcased Ross. Big Tone packed out the legendary London Palladium and delivered a show of stonking musicianship. He and his Hadley band magnificently reinvented songwriter Gary Kemps’s own classics with fizzing new energy and melodic detail – matched by as many more numbers from his own consummate solo album, Talking to the Moon, plus a splash of Sinatra.

Tony Hadley, pop music, Lily Gonzalez, London Palladium, Talking to the Moon, UK tour,

Tony Hadley and his band: making magic at the London Palladium, October 2018

In the fall-out, Spandau now find themselves in utter disarray, without any imaginable future. Other band members have assiduously invested in their solo careers over recent months, notably songwriter Gary Kemp who has spent a year working with Nick Mason’s Saucerful of Secrets, with further plans to continue into next year. What both Kemp brothers seem to ignore is that the others don’t have champagne millions like their own to fall back on and might presumably prefer to be working.

There’s more, much more to report, below. But right now one other person is feeling the pain and shedding stinging tears over all this talent and time going to waste, and excuse me, dear reader, when I say that person is me. It saddens me to report any of this grizzly saga, as the journalist who was first to write about Spandau Ballet when they were brash and young and mounting their second live show at the Blitz club in 1980, and who created this website Shapers of the 80s to set in context both their long-awaited first reunion in 2009 as well as the New Romantic youthquake they once led.

I had laughed out loud when their savvy manager Steve Dagger took me for our first drink near my Fleet Street office to reveal all about his unknown band. “You did, you did, you laughed out loud: ha ha,” he has sworn ever since, in a wickedly accurate impersonation. He’d been describing to me the “really weird people” who followed the band. “The latest thing is romance, pushed over the top,” he’d said. “Chris Sullivan makes even the SS look normal”. . .

As somebody who was there in clubland’s social mix, I found myself playing a role behind the scenes that shaped Spandau’s lift-off from March to July 1980. A spooky domino ripple of my own strategic encounters landed them various newspaper headlines, a documentary by London Weekend TV’s 20th Century Box and their fortnight in the sunshine of St Tropez, most of which they’ve been largely unaware of.

Within a year Spandau found themselves setting the pace while London street fashion and new music swept round the world to define the Swinging 80s.

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IT WAS GARY WHO FORECAST NO FUTURE

rock music, Gary Kemp, Nick Mason, Saucerful of Secrets,

“A chance to front a band like I’ve never done before”: Spandau songwriter Gary Kemp, second right, touring the States with Nick Mason’s Saucerful of Secrets

❏ Amazingly, it was Martin’s brother Gary Kemp who hammered the first nail into the coffin of his own band by giving a killer “no future” interview to an American blogger, Mickey McCarter, just over a month ago. It came as Kemp ended his North American stint playing guitar on 30 dates with Nick Mason’s Saucerful of Secrets. So insouciant and tactless were the squibs he tossed into the public domain that they ignited fury among the Spandettes, an international coven of ultimate Spandau fans who travel air-miles to meet-and-greet their 80s pop heroes.

Imagine you were a devoted Spandette reading Kemp, your favourite band’s leader and songwriter, saying this in McCarter’s blog:
“There are no plans for Spandau going into 2020.”
And this:
“I have a lot of stuff going on outside of Spandau Ballet.”

Then imagine you were Ross William Wild, the newly auditioned and appointed lead vocalist of Spandau Ballet, critically acclaimed last summer and autumn when he inherited Tony Hadley’s role in six showcase public concerts. Bear in mind Kemp is approaching 60 while Ross is a mere 31. Here was his kick in the teeth:
“When I listen to the lyrics of [my] new songs, they just seem to be about me. [Not] the kind of material that a younger man could sing.”
As if a practised songwriter couldn’t manage some new ones for his new singer… There was more:
“I’m thinking about doing a solo record.” And yet: “There are no plans for Spandau.”
On top of which Ross had to take this whiplash:
“I would still personally love to play on stage with Spandau Ballet, including Tony Hadley.”

“Spandau’s on hold, yeah.
There are no plans for Spandau.”

Now imagine you were any one of the remaining members of Spandau Ballet, John Keeble, Steve Norman or Martin Kemp, reading that Gary’s work with the Saucerful of Secrets is a continuing project:
“There are lots of plans. There are plans for possibly some recordings. There’s another European tour we’re doing throughout July. We’re playing open-air amphitheatres, and we’re headlining a couple of festivals across Europe. After this tour, we go back to Britain, and we’ve got some more British dates as well. There are plans going into 2020.”
Next, all four members of Spandau could read of the joys of Gary’s travels with Saucerful:
“I’m loving it, absolutely loving it. It gives me a chance to stretch out on stage like I’ve never done before. It gives me a chance to front a band like I’ve never done before. And the camaraderie and the musicianship are extraordinary in this group.” Slap!

Pop music, John Keeble ,New Romantics, Blitz Kids, Spandau Ballet, Ross William Wild,

Spandau’s finale at Ross Wild’s glorious debut, Subterania, June 2018: John Keeble takes the mic to say “Thank you very much: We are Spandau Ballet”

So his interviewer McCarter asked: Spandau is on hold while you’re doing this?
“Spandau’s on hold, yeah. There are no plans for Spandau. So after this, I’ve got some more acting work coming up in September. We’ve been through quite a lot of disruption over the last few years. And I don’t know really where that’s left us, to be honest.”

His fan-boy interviewer says all this makes him feel rather sad. So Gary just turned the tourniquet some more:
“Yeah. I don’t know. I still struggle to imagine Spandau Ballet without Tony Hadley. And whether that will ever happen again, I don’t know. . . I would still personally love to play on stage with Spandau Ballet, including Tony Hadley. I still think that’s the ultimate goal and it always will be.” OUCH !!!!!!!!!

By now fans were spitting tacks in social media, Ross probably gnawing his knuckles, and this US interviewer presumably needing a very stiff drink. Then the came the bombshell:
“And if it doesn’t, then maybe that’s it. I don’t know at the moment.”

Maybe that’s it?!?! Gary “doesn’t know” at the moment! Martin “doesn’t know” either and wants “to put it into a box and let it sit there”! This Great British Blight has become known as Theresa May Syndrome and the only known cure is to quit the job.

“I would still love to play on stage with
Tony Hadley. That’s the ultimate goal.”

Zoom back to today, and here I am contemplating this internal drama the two brothers have been airing in public. By now I too am shedding tears for that original bunch of five bright and funny Angel Boys from Islington who made such natural music-makers at school. As a writer I’d believed in Spandau as pop pioneers and as a social historian I’d followed them as their riveting cult injected creativity into London’s bloodstream more effectively than any group since the Small Faces in the Sixties. Theirs was a social whirl driven by collaboration.

As brothers in arms Spandau knew their bonds of friendship were indestructible. For 20 years. Then came the first parting of ways, prompted by the Kemp brothers’ acting ambitions. Then silence, then the 1999 court case and more silence. Then suddenly in 2009 came a reunion, for one year, then silence. In 2014 another reunion which lasted one year. But no more silence, only bitter feuding and a bid for independence by Tony and the search for his replacement which led to Ross becoming the “perfect fit”! Apparently not.

And here are Spandau now in their 40th year, still tearing themselves apart and saying they “don’t know” about their future. Usually musicians want to do nothing but play their music. . . Either Spandau must refresh or quit because many of us haven’t the patience to endure yet more of this dithering while Tony Hadley embodies their music superbly in his own triumphant show. Far better for Spandau to call this The End, now. There: that’s my own bridge burnt. Oh, how true are the words of their old mates Blue Rondo a la Turk: “The heavens are crying.”

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THAT GARY KEMP INTERVIEW IN FULL

➢ Gary Kemp talks to US blogger Mickey McCarter in Washington DC about Nick Mason’s Saucerful of Secrets and Spandau Ballet and the future of both bands (15 April 2019, with congrats to Mickey Carter)

BALLET POSTSCRIPT

❏ It took a full 24 hours before any official confirmation of Ross’s departure came in a short post on Spandau’s website where Ross’s photo has now been removed: “Spandau Ballet would like to thank Ross William Wild for his brilliant performances with them last year and wish him every success with his band, Mercutio, and the many other exciting projects he’s working on at the moment.” But still neither public explanation nor apology to either Ross or the fans.

HERE’S ROSS DEBUTING HIS VERSION OF GOLD

➢ Previously at Shapers of the 80s: 2018, Dad band Spandau preen with pride for Ross their newly adopted son

➢ Previously at Shapers of the 80s: 2019, Spandau vocalist Ross rocks fans by announcing his own new band Mercutio

➢ Previously at Shapers of the 80s: Hadley v Spandau, 2018 – Whose superb band is paying tribute to the other?

Pop music, Steve Norman, Facebook, Spandau Ballet, Ross William Wild, breaking news,

The only kind words for Ross William Wild came today: Steve Norman’s Facebook post pictures them onstage together

➢ Previously at Shapers of the 80s: 1980, The Invisible Hand of Shapers of the 80s draws a selective timeline for the
unprecedented rise and rise of Spandau Ballet

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2019 ➤ Spandau vocalist Ross rocks fans by announcing his own new band Mercutio

Ross William Wild, Mercutio, Camden Festival, Diverge Records, alt rock,

Heading to Camden Rockfest: Ross Wild in white shirt with members of Mercutio. (Photo by Giorgio Lattanzi)

HERE IS A PICTURE OF ROSS WILLIAM WILD amid musicians of Mercutio, a seven-year-old “alternative and experimental” rock and grunge band, only four months after he was showcased in concert as the stunning youthful replacement for Tony Hadley in Spandau Ballet, the 80s New Romantic pioneers. After Hadley had walked out a year earlier, Spandau hoped Ross would be their key to being signed for this year’s landmark rock events from Glastonbury down, but so far no plans have emerged. Suddenly out of the blue, yesterday Ross announced at Facebook: “My new band! Come rock out with us on April the 13th in Camden!” He features prominently in the band’s new photographs.

Ross William Wild, Mercutio, Camden Festival, Diverge Records, alt rock, Facebook

Ross Wild’s Facebook announcement yesterday

Coincidentally Spandau songwriter Gary Kemp is currently in North America channeling the guitar of David Gilmour with Nick Mason’s Saucerful of Secrets tour, while Martin Kemp and Steve Norman are also boasting busy diaries. Otherwise, both Ross and Spandau have been zip-lipped silent, which raises the suggestion that what gossips tend call “creative differences” might perhaps be simmering away under the lock-down of signed contracts.

Mercutio were offering no further clues, except in their publicity. This all-Italian band who work in London are advertising future live dates starting in April at The Monarch in Camden followed in June by the CamdenRocksFestival. Ross’s Instagram photos show he has been in rehearsal on a #secretproject #itallianscottish with the band since January. He is also pictured rehearsing at home in what he tags as #singersongwriter #makeshiftstudio #homestudio.

Ross William Wild, Mercutio, Camden Festival, Diverge Records, , alt rock, instagram,

“Secret project”: Ross pictured on his Instagram page last January

Ross William Wild, Mercutio, Camden Festival, Diverge Records, alt rock,

Ross Wild photographed with Mercutio for their website by Giorgio Lattanzi

ROSS TALKS EXCLUSIVELY TO SHAPERSOFTHE80S

❏ A couple of days have now passed, and it’s been good to reach Ross by phone, at the suggestion of the founder of his new band, Gianluca Cucchiara. I told Ross that his sudden announcement was all the more surprising because only last month I’d bumped into Gary Kemp and when asked about Spandau’s plans, he would say only “There is no news”. Nothing more.

Ross replied: “I know. It’s all so shrouded in mystery at the moment. The main thing is Spandau don’t want to just go out and do a bunch of shows for the sake of it. The next step must be something great. It must break the mould. So we’re throwing ideas around for new music. Unfortunately Gary has commitments, so we’re waiting for him to finish until we crack on. Same for Martin and Steve.”

Ross William Wild, Mercutio, Camden Festival, Diverge Records, alt rock,

Mercutio publicity: poster for the Camden festival includes Ross in the lineup

Surely, though, it’s a bit strange to join another band when his Instagram still describes Ross as “Lead Singer @SpandauBallet”? He said: “I can’t wait around for Spandau! I’ve been a songwriter all my life – it’s a natural thing for me to do. I met Gianluca at a workshop a year ago and we gelled so well. But I said I’d got another band and couldn’t really talk about it before Spandau announced my role. I’ve been into rock music and metal all my life, and always wanted to pursue it, then the right musicians came along.”

So how does his new sound square with Spandau’s very different music? Ross said: “I’m into absolutely everything. I’m not a one-genre guy by any means and this new band Mercutio reflects that. It’s not death metal and it’s not thrash but very much metal with melody at its heart, plus a heavy focus on lyrics and story-telling. It’s a different flavour but it’s the same heart really.”

“I’m not a one-genre guy by any means”
– Ross William Wild

Mercutio are working on a full album. The first single will be recorded soon and it’s called Where the Pain Lives. Of his own role, Ross said: “I’ve written lyrics for it along with Gianluca and Fabio the guitarist. Then we picked up one of my own songs called Alex – more melodic and melancholy, a funky feel with a big emotive chorus. We’re chuffed that we’re going to debut these tunes in Camden for an album that is very Nirvana-esque mixed with Muse.”

As for the lack of news from the Spandau camp, Ross said: “We’re talking all the time about what to do at the end of the year. It all depends on 4-5 guys juggling their schedules. Nothing is yet set in stone. Put it this way: we’re not finished.” So the message is optimistic? “Absolutely, without a shadow of doubt. I’ve met a bunch of new best friends doing Spandau Ballet. . . I have my own ideas about marketing strategy but at the end of the day Steve Dagger’s the boss, so you’ve got to roll with it.”

Ross William Wild, Mercutio, Camden Festival, Diverge Records, alt rock,

Mercutio website: Ross pictured as vocalist

A BAND WITH A LONG PAST BUT FEW TRACES

MERCUTIO’S FOUNDER GIANLUCA CUCCHIARA also multi-tasks. He got in touch this week to say: “I’m currently producing with Giovanna Romagnoli a new musical called Vanara, with my own music and orchestrations. Giovanna has an Academy Award for Cinema Paradiso and is also producing Mercutio with Diverge Records. Ross was one of the leads in a workshop we did last May in London” [only days before Spandau announced Ross as their new singer] “and the cast included also the Tony nominee Eva Noblezada. I simply asked Ross if he was interested in collaborating with me on a rock project as he loves pop and musical theatre, but he also is a big fan of grunge and hard rock. We share an incredible passion for bands like Tool, Nirvana, Muse (to name a few).

“A few months after the tour with Spandau, Ross and I started writing some songs together with my friend and guitar player Fabio Staffieri. In the band we have also bass player and producer Emanuele Nazzaro and drummer Francesco Lucidi. Francesco will be Elton John’s drummer in the biographical movie Rocketman coming out at the end of May.”

It is still a curious fact that Mercutio seem to have no public profile at the major reference websites Discogs, AllMusic or Wikipedia. Evidence of their existence comes from their own website which lists their first tour details starting 21 Sep 2011 at Nambucca in London to their last tour ending on 18 June 2016 at the Tram and Social. This year new dates have been announced for six gigs in April and June.

Other slim details about Mercutio online include three gigs in Rome and London between 2014 and 2016 which are documented at ReverbNation, where we can hear the breathy vocalist covering a rocky Karma Police after it opens with a lush string orchestration. We can however view videos there for No Compromise, a pained romantic ballad, and a grungy tease-trailer for the band inviting us to “Smell bass, hear speed and taste rock”. Reverb comments: “Taking influence from Radiohead, Muse and Porcupine Tree, the guys wrote, recorded and toured together for several years in various bands before forming Mercutio.”

Though Mercutio haven’t been active for a couple of years, it doesn’t faze 30-year-old Ross. He said: “I don’t care. I’m making them work and they’re making me work. Right now, I’m looking forward to a summer tour with Mercutio in the UK and Italy, maybe some festivals. The team behind it is phenomenal. Gianluca is an amazing composer and orchestrates our music brilliantly. It feels brand new to me and will feel brand new to the audience.”

Ross William Wild, Mercutio, Camden Festival, Diverge Records, alt rock

New boy at centre: Ross Wild photographed for Mercutio’s website by Giorgio Lattanzi

❏ UPDATE FROM ROSS: He has now posted the Mercutio publicity poster at Instagram and adds the words every fan wants to hear: “Yes, I’m still happily with @spandauballet but until our next tour I’m staying creative with this bunch of amazing musicians.”

➢ Ross confirms his news at Instagram
➢ Mercutio pictures Ross as vocalist on their website
➢ Mercutio make their debut with Ross at The Monarch in Camden at 8pm on April 13
➢ At Spandau Ballet’s website no news since 21 Jan 2019

Ross William Wild, Mercutio, Camden Festival, Diverge Records, alt rock,

Update April 12: @mercutioofficial calls itself “Ross’s happy place” and that Ross, Fabio, Naz & Francesco are currently working on the new album!

➢ Previously at Shapers of the 80s: Whither Spandau? Expect a bombshell today! – The first hint on 28 May 2018
➢ Previously at Shapers of the 80s:
2018, Dad band Spandau preen with pride for Ross their newly adopted son

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➤ A personal tale about the genius staring out from a painting expected to sell for £30m tonight

David Hockney, Henry Geldzahler, Christopher Scott, Photography, painting, auction, Christie's London,

Being auctioned tonight at Christie’s: Henry Geldzahler and Christopher Scott by David Hockney (1969, acrylic on canvas). Private collection. © David Hockney

THIS MESMERISING HUGE CANVAS TITLED Henry Geldzahler and Christopher Scott was painted by David Hockney in 1969 and is expected to sell at Christie’s tonight for at least £30million and today is the public’s last chance to view it until 4pm. It creates an intense dialogue between Hockney and his soulmate Henry, whose hairline is the picture’s vanishing point. By chance I got to know Henry in 1977, later stayed at his house in Greenwich Village and of course had to try-out the by then fabled pale mauve sofa pictured here.

We’d met during the best holiday of my life that summer at a house party hosted by the painter Teddy Millington-Drake at his vast 17th-century villa on Patmos, the Greek Island where St John had his apocalyptic Revelation. Two dozen guests, several with their kids, had arrived either like me on the weekly boat from Athens or on their own yachts (there were no direct flights to Patmos) for what proved to be a conclave of amusing, clever and influential movers and shakers from across the international art scene who utterly changed my understanding of life, the universe etcetera.

Henry himself, a three-in-one wit, wag and Svengali, undoubtedly changed the course of modern art by shifting its centre from Paris to New York, and affirmed the credibility of the term Pop Art. While only in his 30s he became the Metropolitan Museum’s first curator for 20th-century art and in 1969 mounted the landmark exhibition of 408 contemporary American works executed between 1940 and 1970 by artists he called “deflectors” of prevailing trends, such as Warhol, Gorky, Pollock, Rothko, Rauschenberg, Stella, Johns, Hopper. It was an immediate sensation. A new canon.

David Hockney, Henry Geldzahler, Christopher Scott, Irving Penn, Photography, painting, Andy Warhol

My photo of Henry Geldzahler in 1981: taking receipt of Irving Penn’s new portrait of him, in his NYC cultural commissioner’s office

I met Henry again in 1981 the very day he took receipt of a new portrait of him by photographer Irving Penn. I was in NYC that May during the First Blitz Invasion of the USA when I accompanied the 21 Blitz Kids who included the synth-led Spandau Ballet and Jon (Mole) Baker’s Axiom design collective who played a gig and staged a runway fashion show to introduce Manhattan to the new stars of Swinging London.

By then Henry had become New York’s first Commissioner of Cultural Affairs, appointed by the mayor Ed Koch. I visited his office at Columbus Circle and he played along when I suggested taking a souvenir snap so that my portrait of him cunningly captures him four times over: Henry in life reclining on his chaise, holding the Penn portrait, in the glass of which we see reflected the Warhol lithograph of him from 1979. Behind on an easel stands a further 1973 head-and-shoulders by Hockney (savagely cropped to maximise impact in this post).

Henry, who died in 1994, was described as the world’s “most powerful and controversial art curator”. He must also have been one of the most painted and photographed curators ever. “There are lots of pictures of Henry,” said Hockney. “He didn’t have many mirrors in his home. He knew what he looked like just by asking people to make portraits of him.”

David Hockney, Henry Geldzahler, Christopher Scott, art, painting,

Masterpiece of pictorial drama (detail): the central subject in Hockney’s painting of Geldzahler and Scott stares back, evaluating the painter’s every move. (My photo)

➢ Henry Geldzahler and Christopher Scott is Lot 8 in the sale An American Place: The Barney A. Ebsworth Collection at Christie’s London, 6 March 2019, from 7pm. Update: the painting went in three minutes flat for £33million.

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