Tag Archives: Tony Hadley

2017 ➤ Touring USA Tony Hadley admits his flabber has never been so gasted

US tour, pop music, Tony Hadley, California, Wembley Arena, dates, split, Spandau Ballet, New Romantics,

Hadders in California: flabbergasted while relaxing in the sunshine

WHEN 105.7 SAN DIEGO RADIO ASKED this week for a scoop about his recent split from Spandau Ballet, singer Tony Hadley relaxing by the bay said: “It’s a bit tricky at the moment. I’m about as flabbergasted and shocked as everybody else. It wasn’t my intention to quit the band, but I was put in a position where I really had no option but to formally leave. We’ll be announcing something pretty soon which will clarify exactly why”. . . Meanwhile on his band’s US tour, “We never stop partying. Some bands are really boring and go to bed with a cup of cocoa after the show. Me and the rest of the boys and Lily our percussionist we’re quite happy to have a bit of a laugh.” No cocoa after the show? “No! A glass of vino collapso, I call it.”

Tony Hadley and his band are headlining the Lost 80s Live tour through Aug-Sept 2017. Returning to Portsmouth 12 Sept, Blackburn 29 Sept, Chile 4 Nov, later to top the bill at Wembley’s SSE Arena for the Let’s Rock Christmas Retro Show also starring Kim Wilde, Nik Kershaw, Go West, Nick Heyward, T’Pau and others tbc.

pop music, Tony Hadley, split, Spandau Ballet, Twitter
➢ Previously at Shapersofthe80s:
So who can fill Tony Hadley’s big Ballet shoes?

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2017 ➤ So who can fill Tony Hadley’s big Ballet shoes?

Spandau Ballet , pop music,Gary Kemp, Martin Kemp, John Keeble, Steve Norman

Face wanted in the Spandau Ballet lineup: from left, Gary Kemp, Martin Kemp, John Keeble, Steve Norman. Might the new singer even be female?

AFTER YEARS OF HINTING that his career as Spandau Ballet’s frontman was over, both during and after two world tours – all of his bombshells reported here at Shapersofthe80s – today Tony Hadley finally quit with a single tweet. Immediately, the Spandau management declared that the other four resting band members will rise like Lazarus to “move on as a band”. Er, well, perhaps, but Big Tone’s suave 6 ft 4 in (1.93 m) frame leaves not only a physical hole in the five-piece line-up, none of them especially noted for their singing voices, but an inevitable audible gap too. The four Spandau remainers provide the complementary blue-eyed soul music to a big balladeering voice, albeit described as a “dramatic warble” by Dan LeRoy at AllMusic, or that of a “top crooner” by somebody at BBC Somerset.

➢ Earlier at Shapersofthe80s:
Today’s Hadley bombshell

So who’s in the frame for the key job without which Spandau’s legacy will remain all behind them? It has to be either a dead ringer who plays to fans’ expectations, or a radical candidate who will set a new direction. One obvious contender is Paul Young as a singer who built a strong reputation for vocal interpretation during the same renaissance of British pop music that made Spandau an international supergroup. His covers of Marvyn Gaye and Jimmy Ruffin well qualify him at 61 to become the big brother of the Spandau dad-band.

Click any pic below to launch slideshow

Less obvious but no less talented is Brandon Flowers, 36, former frontman of the Killers with whom he helped repopularise the sounds of the 80s in the noughties. His charismatic presence and fashion sense would sit comfortably with the Spandau heritage.

Amazingly, Will Young has reached the ripe old age of 38 in minutes seemingly, but as a respected vocalist and former Pop Idol winner he can claim four UK number-one albums and two Brit awards, while his recently acclaimed stage experience in Cabaret might bring a fresh note of theatre to Spandau performances.

Olly Alexander, pop music,

Olly Alexander at Glastonbury (Getty)

But if Spandau really want to inject some millennial youth into their daddy line-up they could consider the chirpy presence of actor-vocalist Olly Alexander, 26, whose sheer energy would trigger a mighty refresh. Olly describes himself as a “real left-winger” which should sit well with the millionaire Spands whose working-class roots reach back to Islington.

Of course, they could just as easily invite on-board one of those Hadley impersonators who wowed viewers of the Saturday night talent show Stars in Their Eyes – such as Martin Lewis who sang Gold brilliantly in 1997 or Steven Houghton who sang the same number in 1998.

NOW NOMINATE SPANDAU’S NEW VOCALIST

❏ Who would you like to see as the next vocalist with Spandau Ballet? Many fans today have been wailing how irreplaceable Big Tone is, while others have condemned him harshly for robbing his former schoolmates of their pensions. Clearly the band believe they have one more album and tour ahead of them, but who will lead them on through the barricades? Please leave your comment below.

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2017 ➤ Tony Hadley pulls the plug on Spandau Ballet – but the band will rise from the dead

pop music, New Romantics, Blitz Kids, Gary Kemp, Spandau Ballet, Tony Hadley, split, reunion, Steve Norman, John Keeble, Martin Kemp,

Spandau Ballet in happier days, their 2014 reunion: John Keeble, Steve Norman, Tony Hadley, Gary Kemp, Martin Kemp. (Photography Scarlet Page)

pop music, New Romantics, Blitz Kids, Gary Kemp, Spandau Ballet, Tony Hadley, split, reunion, Steve Norman, John Keeble, Martin Kemp,

BREAKING NEWS TODAY IN TWO WAVES: At midday 57-year-old singer Tony Hadley suddenly tweeted that he was “no longer a member of Spandau Ballet”, the London band who pioneered the New Romantic movement in the 1980s. Two hours after the star quit the band, its official website announced a Lazarus-style miracle: that the remaining four musicians “have now made the decision to move on as a band” without Big Tone. If they can indeed rise from the dead, who can possibly replace his signature bel canto baritone which has been central to the supergroup’s musical signature for almost 40 years?

When Spandau’s Soul Boys Atonement Tour ended in 2015, Hadley immediately returned to touring his solo act, is currently playing summer festivals as a solo artist with his own supporting band and touring the USA during August. Each member of the band has also looked to his own projects. Then in August 2016 Martin Kemp told ITV in a very relaxed way that another Spandau get-together was unlikely. When asked: “You’ve not fallen out again, have you?” Martin said: “We fall out when you come back off the tour and you pick up your case at Heathrow Airport and then we walk away, say ‘See you a bit later then’. We fall out, that’s how it works.”

Speculation about a successor is rife. Watch this space for further news.

➢ Vote here at Shapersofthe80s
for Tony’s successor

pop music, New Romantics, Blitz Kids, Gary Kemp, Spandau Ballet, Tony Hadley, split, reunion, Steve Norman, John Keeble, Martin Kemp,

THE MIRROR HAS THE BEST INSIDE STORY:
WAS HE PUSHED OR DID HE JUMP?

➢ Tony Hadley quit Spandau Ballet ‘amid bitter spat with band’ and they only found out on Twitter – Ashleigh Rainbird reports a source claiming:

The band were offered a string of lucrative opportunities that Tony didn’t want to be involved with. There was talk of a new album and tours including a huge US headline tour – the UK’s biggest festivals had offers on the table, too. But Tony opted to focus on his solo career, meaning everyone missed out.

Tony has been billed as being ‘formerly of’ Spandau Ballet on several tour posters. There had been tensions brewing between Tony and the rest of the group for almost two years, since he decided he did not want to perform with them. This was the final straw, and Tony had an ultimatum – take part in Spandau or quit entirely.

Things have festered over the past year or so and relations have been at an all-time low. By declining Spandau’s opportunities, Tony was pulling the strings for the entire group. But now he is no longer a member they can continue without him.

WE ALL SAW THIS COMING: REMEMBER
THOSE EARLIER HADLEY BOMBSHELLS

➢ May 2017, “We got back together, of course, but we’ve done that now and are getting on with our own solo careers. Great band, great legacy.”

➢ Previously at Shapersofthe80s: 2015, bombshell from Hadley

➢ 2012, future of Spandau doubtful

➢ 2011, Another bombshell for Spandau

➢ 2011, Bombshell for fans as Hadley unwinds

➢ 2011, Hadley tosses out interview squibs

➢ MESSAGE FROM STEVE NORMAN
ON HIS OWN WEBSITE, 7 JULY

Steve Norman, Spandau Ballet, split, Tony Hadley, pop music, 2017,

THOSE SPANDAU BOYS:
WHERE ARE THEY NOW?

Sonya Keating, Paul Brough , Tony Hadley, Spandau Ballet,TV, wedding

Hadley: serenading newly weds Paul Brough and Sonya Keating in a live TV broadcast from the Shard for This Morning viewers last week. (Photo: Rex)

Spandau Ballet, Gary Kemp, TV, documentary, Mick Ronson

Gary Kemp: culture vulture and broadcaster fronting his April TV documentary for Sky Arts titled Passions: Mick Ronson, directed by Paul Bernays

Martin Kemp, Spandau Ballet, touring

Martin Kemp: is touring the UK all year with his Q&A event, An Audience with himself

John Keeble, Spandau Ballet, Soul Boys, tour

John Keeble: here bidding farewell to Perth in May 2015 as the last Spandau tour ended. He had missed a handful of dates because of fatigue. (Photo: Matt Glover)

Steve Norman, Spandau Ballet, live, festivals, saxophonist

Steve Norman: has curated the odd summer festival and pursues a vigorous programme of live appearances, here billed for Milan this week

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➤ How Bowie threaded blue notes through his final surge of creativity

David Bowie, The Last Five Years,TV,video, Sue,

Bowie as a projected image in the video for Sue (Or in a Season of Crime)

“If you feel safe in the area that you’re working in, you’re not working in the right area. Always go a little further into the water than you feel capable of. Go a little bit out of your depth and when you don’t feel that your feet are quite touching the bottom, you’re just about in the right place to do something exciting” – David Bowie

THE MOST GRIPPING SEQUENCES in the new TV documentary about Bowie’s final surge of creativity are those which assemble every musician in the bands he worked with from 2012 to the end. Each band re-enacts pivotal moments when they rehearsed the music, inspired by his lyrics, and laid down the tracks for the albums The Next Day and Blackstar. Particularly revealing is the session when pure jazz soloists created the nerve-tingling Sue (Or in a Season of Crime), which Bowie added to his 2014 “best-of” collection, Nothing Has Changed.

To mark the first anniversary of the star’s death, this weekend BBC2 screened David Bowie: The Last Five Years, Francis Whately’s sequel to his other superb documentary Five Years broadcast in 2013. The role of jazz in Bowie’s musical temperament seldom gets discussed, though his producer Tony Visconti says the jazz influence had always been there in the music but underneath the surface. As a small child Bowie heard a jazz band and right away said: “I’m going to learn the saxophone. When I grow up, I’m going to play in [this] band. So I persuaded my dad to get me a kind of a plastic saxophone on hire purchase.”

In 2013 in New York he met Maria Schneider, a jazz composer, handed her a demo disc and asked her to extemporise around a tune called Sue. In turn, she told him he had to listen to this sax player Donny McCaslin and without missing a beat Bowie went straight into the studio with his group and Maria and out came possibly the purest jazz number of his career, a discomfiting tale of infidelity. It won Schneider a Best Arrangement Grammy in 2016.

➢ Watch the Donny McCaslin Group working
on Bowie’s Blackstar

Click any pic below to launch slideshow

REVIEWS OF THE LAST FIVE YEARS TV DOC

➢ A thrilling portrait of a late-life renaissance
– Jasper Rees at the Arts Desk

The opening yielded much joyful footage of Bowie goofing around on the Reality tour (2003), seeming much more like one of the boys than he ever managed with Tin Machine. The band still seemed spooked at the memory of his collapse, before he was carted off to retirement in an ambulance.

Maria Schneider was one of many musicians – three complete bands – who re-formed to walk through the creation of the music. Drummer Zachary Alford still looked shocked at the NDA handed him as he showed up to work on The Next Day. “If I said anything about it,” remembered bassist Gail Ann Dorsey, “I would be in big trouble legally.” Nobody was asked if Bowie really would have sued his collaborators for spilling the beans.

The recent collaborators reflected on the extent to which the new music was steeped in the past. But there was also good stuff from the old lags who worked (and sometimes slept) with Bowie in the feather-cut era: Ideally there would be a DVD with extras featuring much more from each of them. Chief keeper of the flame Tony Visconti sat at a console and played excerpts of Bowie’s unaccompanied vocal takes. On Blackstar came the haunting sound of Bowie wheezing like an ancient mariner fighting for every last scrap of breath. . . / Continued online

➢ A treat and a treatise on music’s departed genius
– by James Hall, Daily Telegraph

The Last Five Years wove previously unheard Bowie interview material with on-screen contributions from collaborators including producer Tony Visconti. The access and insights were faultless. Whately’s programme was essentially a treatise on artistic rebirth. And it showed that although Bowie’s musical style constantly changed, the themes that preoccupied him — alienation, escape, the notion of fame — were there until the end.

During his final creative burst, Bowie gradually revealed to collaborators that he was ill. In the most poignant scene, we learned that Bowie only discovered his cancer was terminal three months before he died. This was in October 2015 when he was filming the video for Lazarus, in which he sings the line “Look up here, I’m in heaven”. Bowie worked and cared and joked until the end. Through tears, Visconti said that he was at ‘the top of his game’. . . / Continued online

➢ David Bowie: What have we learned since his death? Some astounding new Bowie facts
have come to light – via The Guardian

70TH BIRTHDAY TRIBUTE CONCERT IN LONDON

tribute ,concert, David Bowie, Steve Norman, London

Brixton tribute concert for Bowie: Gail Ann Dorsey singing Young Americans with Spandau Ballet’s Steve Norman. (Photo: Getty)

❏ On what would have been Bowie’s 70th birthday his friend the actor Gary Oldman gathered at the Brixton Academy a 30-strong all-star lineup of musicians who had collaborated throughout his career, with some glorious orchestral and choral support. The show is the first in a run of gigs around the world taking place in cities that have a strong connection with Bowie and his work.

The London concert featured Mike Garson, Earl Slick, Adrian Belew, Mark Plati, Gerry Leonard, Sterling Campbell, Zachary Alford, Holly Palmer, Catherine Russell, plus such guests as Tony Hadley and Simon Lebon. Special highlights saw Gail Ann Dorsey singing Young Americans with Spandau’s Steve Norman on sax; and an audience singalong to Life on Mars? led by Adrian Belew and gifted vocals from Tom Chaplin from the band Keane. Plenty of live videos at YouTube.



➢ 10 Jan update: Gary Kemp joins his friend Robert Elms on BBC Radio London to discuss David Bowie, one year on. (Catch up on iPlayer for one month: starts at 13mins)

➢ Previously at Shapersofthe80s: “I’m not a rock star” Bowie often said – No, David, you were a messiah

➢ 13 Jan: Iggy Pop’s tribute to The Songs of David Bowie on BBC Radio 6 Music and iPlayer for another month

➢ As a confused teenager living in Seventies suburbia, singer Andy Polaris retraces his obsession with Bowie

➢ Commemorating Bowie at the BBC

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➤ Ex-Blitz Kid Rusty Egan and friends dress 80s electro-pop in brilliant new clothes

Welcome to the Dancefloor, Rusty Egan, electro-pop, Blitz Kids, New Romantic, EDM, synthesisers,

Egan deejaying at Tramp this week: a nightclub launch for Welcome to the Dancefloor

AFTER FIVE YEARS OF BLAGGING, and five years of feuding with former collaborators, 80s Blitz Club deejay Rusty Egan’s own “electro-diskow” album, Welcome to the Dancefloor, amounts to a superb sonic landmark. He and his guest performers engage an impressive range of emotions by dramatically humanising the potential starkness many associate with electronica.

ALBUM REVIEW
Welcome to the Dancefloor
Rusty Egan

Spookily, their energy rockets us immediately into that vast clean stereo soundscape that uniquely defined the new music of 1980. Here synthesiser chords are stretched and layered and cracked like a whip, as if by an invisible hand in another time and space, which of course was precisely the sound of London clubland when its youth culture erupted as a volcano of creativity. The album’s pacey opening track finds ex-New Order’s Peter Hook on The Other Side spinning through the Milky Way, his thin 80s vocal style querulous and wistful, yet poppily optimistic.

That era did after all abandon the overpowering noise of the rock stadium and the punk nihilists to celebrate a return to melodious singing voices and to arch lyrics meant for listening, while synthesisers defined a fresh musical ambience. Inexperienced young artists unsure about their singing ability half shouted, half vocodered their limited vocal range to re-imagine their teenage dreams on a different planet.

Egan’s collaborators: click any pic below to launch slideshow

While Egan has carefully selected 13 tracks reflecting the wide spectrum of synth possibilities, half are love songs in the spirit of the 80s generation who were dubbed by the press New Romantics. Nevertheless he has created a consummate showcase for electronic music, co-produced by Nick Bitzenis (aka Nikonn). He has had a hand in writing a majority of the songs, many co-written with Chris Payne (of Fade to Grey fame), these being subsequently endorsed and expressed by a handful of starry friends such as Midge Ure and Tony Hadley on tracks of their own.

Despite its title, this is not dance music that the funk nation would groove to. Laying down a dominant 4-4 beat is not conducive to free-form movement unless you think you’re Tik or Tok. Exceptions include Egan’s own pulsating title track with robo vocals as if by Stephen Hawking and knowing breaks parodying Tenek and the Human League; also the nippy number Hero, which gains spiritual resonance from Andy Huntley’s richly textured delivery.

➢ Listen online to Welcome to the Dancefloor
track by track

The stand-out track is Midge Ure’s transformation of an Egan/Payne song titled Glorious. He rewrote lyrics and melody so as to construct one magnificent crescendo filled with space and tension reminiscent of “Ohhhhh, Vienna!” A close second for reconjuring the authentic 80s is Egan’s own Wunderwerke, driven by his Trans-Europe vocals through classic synth sweeps, hypnotic repeats and bass stabs. Third comes Erik Stein on the astonishingly contemplative Ballet Dancer, basking in a wonderful waterfall of synths.

Like Brexit, Tony Hadley *is* Tony Hadley and here (without the Ballet) on the coltish lovesong Lonely Highway he canters to the top of a whole new hill as a crooner. What distinguishes this album is that it’s awash with affecting lyrics and fine voices to listen to in the name of electro pop – among the gentlest are Be The Man featuring the gorgeous inflections of Kira Porter; Nicole Clarke’s ethereal contribution to Love Can Conquer All; and Love Is Coming My Way, a second number from the silken-voiced Stein.

And just wait for the Chariots of Fire finale: Egan’s intensely personal track, Thank You, which unleashes a shock of the best kind. To describe more would be to spoil a gifted idea. It is emotional and all too evidently sincere. Thank you, Rusty.

Welcome to the Dancefloor, Rusty Egan, electro-pop, Blitz Kids, New Romantics, EDM, synthesisers,

Rusty Egan: co-producer, co-writer and much else – has created a landmark album in Welcome to the Dancefloor

➢ Pre-order Welcome To The Dancefloor as 180g vinyl LP and CD variants, plus bonus mixes, at Pledge Music. – All pledges immediately receive MP3 downloads of the album, with the physical products promised by Rusty Egan “once we reach a target” (unspecified). At worst, PledgeMusic clearly says it “will refund you if the Artist doesn’t reach their target”.

➢ Previously at Shapersofthe80s:
1980, First sighting of the Blitz Kids

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