“We are detective
We are select
We are detective
Come to collect” (The Thompson Twins, 1983)
The Thompson Twins were named after the bumbling detectives in the Adventures of Tintin books, which were also a TV show. The Crab with The Golden Claws was my favourite. I would run in from playing in the street to watch it. I can still hear the intro: “Hergé’s Adventures of Tintin: The Crab with The Golden Claws”. See my images of a Thompson Twin model which Jan kindly bought me and my Tintin book which I bought on eBay.
But these Thompson Twins were very different. These started as a new wave outfit, formed in a squat full on left wing anarchic values. In my mind I have them bracketed with the Raincoats and the Mekons, who were similar new wave acts of the time. They were a large band comprising seven members, fronted by Tom Bailey on vocals and synth, which he was apparently just learning to play, Alannah Currie on vocals and percussion and Joe Leeway on vocals, percussion, synths and guitars. The other members were Chris Bell (drums), Peter Dodd (guitar, synths, percussion), John Roog (guitar) and Matthew Seligman (bass). Thomas Dolby would sometimes accompany them on synth. It was this seven piece Thompson Twins that I saw at Dunelm House in early 1982.
I remember the set as being very rhythmic, verging on dance, with lots of drums and percussion, and that there was much running about the stage by everyone. This was at the time of their second album Set which featured the single “In the Name of Love”. “In the Name of Love” was a dance hit, particularly in the US, and encouraged the band to follow a dancie/pop direction. Shortly after Set the band split and was reduced to the trio of Bailey, Currie and Leeway. Big success was to follow.
In early 1983 the new slimmed down Thompson Twins released their third album Quick Step and Side Kick. The album was much more of a slick pop/dance record and reached No 2 in the UK charts. It also gave them four UK singles chart entries with “Love on Your Side” (No. 9), “We Are Detective” (No. 7; I often wonder if this was a further reference to Tintin and his sidekicks the detectives The Thompson Twins), “Watching” (No. 33) and “Hold Me Now” (No. 4).
The Thompson Twins had made the transition from a new wave act living in a squat to massive international success. Their Side Kicks tour sold out everywhere. I saw them when the tour called at Newcastle City Hall. A fun show, all the hits, and very different from the band that I had seen only one year previously.
Roll-on 40 years and the Thompson Twins are back (well one of them anyway). Lead singer and front man Tom Bailey announced his new tour thus: “Thompson Twins Tom Bailey has today announced a major headline UK tour celebrating the 40th anniversary of the iconic eighties’ album ‘Into the Gap‘. The Thompson Twins are widely regarded as one of the most iconic bands of the 1980s and provided the soundtrack to many people’s lives during that incredible era of music.
On the seven date UK tour in May 2024, Tom will perform Into the Gap the 1984 lauded number 1 album in full. The album which has sold over five million copies worldwide spawned the distinctive new wave singles ‘Hold Me Now’, ‘Doctor Doctor’, ‘You Take Me Up’, ‘Sister of Mercy’ and ‘The Gap’.”
“Along with the album Tom will also perform Thompson Twin favourites including ‘If You Were Here’, ‘Lies’, ‘Lay Your Hands on Me’, ‘In the Name of Love’ and many more. Of the new tour Tom said: “Unbelievably, it’s the 40th anniversary of ‘Into the Gap’ next year, so I’m especially looking forward to touring the UK and playing all those songs along with some other favourites. Hope to see you there!” Tom’s Into the Gap 40th anniversary tour follows major festivals appearances around the world and is his first major UK headline tour since 2018.”
And so it was that Jan, and I were in The Glasshouse to witness Tom Bailey and all-female band perform those classic hits. Support came from China Crisis who I recently saw at The Fire Station. I remember some of the better known songs such as “Black Man Ray”, “Wishful Thinking” and “King in a Catholic Style”, but to my shame have to admit that I recalled little else about this band, until the recent performance I attended. We were once again treated to a set of greatest hits including the aforementioned “King in a Catholic Style” and “Black Man Ray”.
Tom performed the concert in two sets, each one containing a group of great hits. He was visibly proud and obviously enjoying returning to the limelight. Hit after hit followed. Tom started the proceedings straight into those classic songs with “In the Name of Love”, “Lay Your Hands on Me” and some which were less familiar to me. He concluded the first set with a song which was by “One of my favourite bands”, Talking Heads’ “Psycho Killer” bringing back memories of seeing Talking Heads “back in the day” at Newcastle Polytechnic (with, I think, Dire Straits as support, no less) and later at Newcastle City Hall, when they became more mainstream.
The second set contained more hits: “Sister of Mercy”, “You Take Me Up”, “Doctor! Doctor!”, closing with “Hold Me Now”. Fantastic. It really took me back. The encore included the aforementioned “We Are Detective” and “Love on Your Side”. I really enjoyed it, even though the electronic 80s is not my favourite era/genre. Tom, you did credit to those old hits. Many thanks to Jan for the photos and Chris for manipulating the site as usual.
Set One: In the Name of Love; Science Fiction; Lies; Lay Your Hands on Me; Runaway; If You Were Here; Shooting Star; Psycho Killer.
Set Two: The Gap; Day After Day; Sister of Mercy; No Peace for the Wicked; You Take Me Up; Who Can Stop the Rain; Doctor! Doctor!; Hold Me Now.
Encore: We Are Detective; Storm on the Sea; Love on Your Side.
The first, last (and only) time I saw 
For some reason I passed many opportunities to see ABC in the intervening years. Time to make up for this schoolboy error. And this was some great opportunity indeed to catch up with Martin Fry (the only remaining member from the early days of the band), his vision and his extraordinary music. Looking back at his career Martin Fry is responsible for the beautiful, and massively successful, piece of music which lies in the album The Lexicon of Love.
Somewhere from the electronica soundscape of Sheffield which Martin Fry shared with the human league and other bands of the time, came a collection of beautifully crafted songs, many of which focused upon the 3 of Love and passed romances. The Lexicon of Love was, of course, a major album chart hit, and remains an important part of many peoples youth, including my own. Martin is currently touring with the Southbank Sinfonia, and filling venues across the UK. The conductor of the orchestra, Anne Dudley is someone who Martin worked with several years ago along with the legendary Trevor Horn.
The Glasshouse website announced the event: “Unique. Lavish. A masterpiece returns. ABC performs The Lexicon Of Love in its entirety, plus their other greatest hits with Southbank Sinfonia Conducted by Anne Dudley. The Lexicon Of Love was first released in 1982 and went straight to number one. Fusing dance floor finesse with a post-punk attitude, the album spawned timeless tracks such ‘Poison Arrow’, ‘The Look Of Love’ , Tears Are Not Enough’ and ‘All Of My Heart’. The album saw ABC enchant the world with their own unique brand of pop. The Lexicon Of Love Orchestra tour first came to fruition in 2009 with countless 5 star reviews from a one off show At The Royal Albert Hall with Martin donning his iconic gold lame suit.”
“It sees Martin joined by Southbank Sinfonia and long time collaborator Anne Dudley as conductor for a truly magical evening celebrating this pop masterpiece. Next year will be 15 years since that first partnership that sees audiences returning again and again. ABC fronted by Martin Fry were formed in Sheffield in the 1980’s when they decided they wanted to fuse the world of disco funk with their own unique post punk vision. ABC’s debut album The Lexicon Of Love sold over a million records.”
The Glasshouse was completely packed with an audience who have loved this album from the day they first heard it some 40 years ago. Everyone was singing along and dancing to great tracks such as “The Look of Love” and “All of My Heart”. The sound was exquisite and Martin looked fantastic in sharp suits (although no gold lame suit this evening); just the same as he did when I watched him perform those tracks on Top of the Pops.
The concert was in two parts with a short interval. I started the evening by investing in a T-shirt, two programmes (one for me and one for my friend John in the USA), a vinyl copy of the Lexicon of Love Live signed by Martin Fry and a double Jack Daniels. A lovely concoction of mementos and a nice drink to start the evening. The first set comprised a number of hits and more recent ABC songs including the great “When Smokey Sings”.
During the short interval I decided to pass on another alcoholic beverage and instead had a lovely small tub of chocolate ice cream. For the second set we were treated to Martin Fry in a lovely pink suit, the orchestra and band performing the Lexicon of Love in its entirety. This is what everyone had come to hear. There was mucho dancing in the aisles and in seats and lots of singing along. The encore was a reprise of “The Look of Love”. A great evening with an artist whose work has lived on through the years and was greatly enhanced by the addition of the orchestra. Elaine and I both really enjoyed it all.
Setlist: Set 1: Overture; When Smokey Sings; Viva Love; The Night You Murdered Love; (How to Be a) Millionaire; The Flames of Desire; The Love Inside the Love; Ten Below Zero; One Better World; Ocean Blue; Be Near Me.
It is almost 50 years since I last saw 
Tangerine Dream were the forerunners of many electronic bands who followed: Kraftwerk, Jean Michelle Jarre, Orchestral Manoeuvres in the Dark and many many more. The Boiler Shop website described them well: “Some bands pioneer a genre, a few acts transcend codification, and the rarest of groups defy classification altogether. Tangerine Dream managed all three. Founded in 1967 by Edgar Froese in Berlin, the group established themselves with their groundbreaking 1974 album Phaedra which became a milestone in electronic music history. Over the last 53 years, Tangerine Dream released more than one hundred albums. Their early “Pink Years” albums had a pivotal role in the development of Krautrock. Their “Virgin Years” – such as Rubycon and Force Majeure albums helped define what became known as the Berlin School of electronic music.”
“Thorsten Quaeschning is a Berlin-based and classically trained musician and composer, has been a longtime member of Tangerine Dream since 2005, which makes him the second longest serving member in the band’s history. In 2013, two years before Edgar Froese’s death, he put him in charge as the Musical Director of the band. Thorsten composed and played on more than 70 Tangerine Dream albums over those years including the successful studio album Quantum Gate on the basis of Edgar Froese’s musical sketches – released in 2017 and nominated for the Progressive Rock Award.”
“Hoshiko Yamane is a Japanese Berlin-based classically trained violinist and composer. She has been a member of Tangerine Dream since 2011. After she graduated with the Master of Fine Arts in Japan, she moved to Berlin. She also graduated with a diploma in violin from the University of Music and Theater in Rostock, Germany. During her study she performed with the Brandenburgisches Staatsorchester. Hoshiko already collaborated with many renown international artists like Jane Birkin i.e. In 2013 she started her first electronic solo project (Tukico) and in 2017 she released her first solo album A Story Of A Man.”
“Paul Frick was born in 1979 in Berlin. He took composition classes since the age of twelve with Il-Ryun Chung. Paul Frick joined Tangerine Dream in 2020. From 2000 to 2008 he studied composition with Friedrich Goldmann at Universität der Künste Berlin. Together with Daniel Brandt and Jan Brauer he forms the group Brandt Brauer Frick. In August 2018 Paul Frick’s solo debut album Second Yard Botanicals appeared on Apollo/R&S Records.”
Shortly after 8 PM the music started. The band, no longer pure white, were enveloped in a series of lighting effects; behind them images and Liquid Lens type psychedelic swirling movements on screen. The Boiler Shop is the perfect venue for the band and their soundscapes. It is the original factory/workshop in which George Stephenson built his groundbreaking locomotives (see image). The metallic open space seemed very fitting for the electronic and trance sounds which soon drifted around the room. Each song merged into the next, the lights and imagery were stunning as was the electronic music. I enjoyed it much, much more than I expected. This was Tangerine Dream reborn, reimagined and rejuvenated.
Many thanks to Jan for the photography, Chris for the manipulation of the site and Elaine for accompanying me to the concert. Tangerine Dream continue to explore further into the magic of electronic instruments, augmented by soaring violin and accompanied by the very appropriate 1970s visuals. Magical.
is, in his own quiet way, a guitar innovator. His pedigree is strong and impressive and last night, reminded me just what a great guitarist the man is. As usual, and no apologies, the night brought back many memories of the man himself and of the venue. Steve Hillage currently has two identities (in fact, probably more): (1) as a reborn trance hero in the band System 7 and (2) he is now out on the road fronting a new Steve Hillage band, drawing from his classic mid – 1970s albums, such as my favourite L.
Firstly, memories of the venue came flooding back partly as I tried to work out in my head where Newcastle University Students Union Ballroom (or equivalent) might be these days. The last time I frequented said venue was during the 1980s witnessing great performances by bands such as Rip, Rig and Panic (featuring a fledgling Neneh Cherry, who had just left the Slits, and sometimes her father Don), Haircut 100 and The Cure. All of those concerts took place in the larger upstairs ballroom; a venue where I witnessed some great punk gigs during the 1970s including the Clash White Riot tour. (Tour advert from 
Some of the concerts including Sandie Shaw (rejuvenated by a collaboration with Morrissey at the time as I recall), Punishment of Luxury and the Au Pairs took place in a lower, smaller, hall named “The Canteen” (because that is exactly what it was during the day!). I was told that wheelchair access was via a lift through the students union building and the Co-op shop! Actually, those directions worked well and some helpful students directed me and my carer Jackie towards a lift which took us downstairs to the venue; I half recognised the hall, it may have been what I once knew as the Canteen. Anyway, sorry for going around the houses to say that we managed to get to the concert okay. However, by the time we arrived the hall was full and the best vantage point we could find was at the side of the stage. (picture of Steve from my ticket)
Secondly, Steve Hillage, psychedelic guitar wizard and inventor of the “glissando guitar” as exemplified by Steve’s wonderful soloing on his reinvention of the Donovan classic “Hurdy-Gurdy Glissando”. I have seen Steve Hillage several times over the years and he always strikes me as a quiet unassuming guy, and yet he has in his own quiet way achieved so much and forged a rich career along the way. I first came across Steve Hillage when he was a member of Khan, an early psychedelic band who I think I saw supporting Caravan in the early 1970s. I then saw him as a member of Gong and as part of Kevin Ayres band.
Roll forward to the Steve Hillage band 2023 in concert. Shortly after we arrived the band took to the stage, with lots of colourful lighting, wailing saxophone and electronica/psych keyboard wizardry courtesy of Steve’s long-term partner Miquette Giraudy. I am unsure who the rest of the band were, but I suspect they consisted of some current members of Gong, who continue to perform without any original members but with the blessing of Hillage and founder member, the late great Daevid Allen. After some wonderful twirling, swirling sounds the music soon took shape and morphed into Steve’s cover of the Beatles “It’s All Too Much” from L.
An excellent start to an evening of great music mixing tracks from throughout the band leader’s career. Some I recognised, several not, but they all featured great guitar dexterity from Mr Hillage. One he introduced as a Kevin Ayres song, in tribute to his former band leader. I suspect there was also a Gong track or two in the mix. Steve stood quietly centre stage sporting a short haircut (very unlike the 1970s proto-hippie Hillage we all know and love) and an intriguing looking guitar with no top stock. Soon we were at the end which featured further excellent guitar on “Hurdy-Gurdy Glissando”. The first encore started with some techno psych leading into The Move’s “I Can Hear the Grass Grow”.
As we left, the band came back for a second encore (I think from reports of other shows on the tour this may have been Jimi Hendrix’s “Are You Experienced?”). The lift we came down on didn’t seem to work anymore, however a friendly guy soon took us to another much smaller lift, which we squeezed into, arriving at a different part of the University. We followed a few ramps and soon found our taxi, waiting to take us home.
This was a return to experiencing 
The second return to experiencing Gary Numan was for my sister-in-law Elaine. My late wife and I took Elaine as a youngster, to see Numan on that wonderful first tour where a robotic Gary mesmerised us with his new blend of electronica, rock and pop music. Flanked by robot figures and a wonderful light show with music unlike anything we had heard before it was a great introduction to the world of Gary Numan. Elaine, then a teenage girl, just loved it. So this was her first outing to see Gary Numan since that experience of his initial tour.
Now I had seen that Gary had been touring again for some years now and kept meaning to go along and see him. His return to the City Hall, where we saw those early shows, was just too much to resist. And Elaine was looking forward to see what the new Gary would be like. I also was intrigued to experience Gary Numan again. So, lots of memories of great shows from a long time ago. Time, the lives of myself and Elaine, and Gary, have moved on. What would the show be like?
First up was support act French band Divine Shade. They were an electronic/heavy bass band clearly influenced by Gary Numan. Think a heavy Gary Numan/dark Depeche Mode/LOUD. They were really loud and we were down the front next to the speakers. We could feel the vibration running through us; just like old times and the first time I saw Black Sabbath when Geezer Butler’s bass hit me in my stomach. Excellent! A great start to the show. They clearly enjoyed it also. From their Facebook page: “Thank you Newcastle ! It was great ! Cool fact from the nice security gard, our little dressing room was the Beatles favorite one.” Now there is a fact I didn’t know!
I wasn’t sure what to expect from Gary Numan this time around. To say he didn’t disappoint would be an understatement. He was fantastic from the very start, keeping the pace up right until the end. The set was a mixture of old and new. I was delighted that the second song was my old favourite “Me! I Disconnect from You” the lyrics of which now take on a new meaning in light of the fact that Gary has publicly mentioned his shyness. It brought back memories of that Wembley show over 40 years ago when I remember it as a standout song. Gary is very much the front man now, revealing more of himself to us, much darker, dressed all in black with red stripes running down his face. His music is louder, rockier and darker. He is flanked by a bass player and a guitarist each with shaven heads, wearing black skirts and large black boots. Quite menacing, dark and Gothic.
I hadn’t realised just how much Gary Numan’s music had changed over the years. I was clearly out of touch. He has stripped things down to the basics and produced a much darker, heavier sound. In front of us was a new, louder, more intense front man than the young boy Elaine and I experienced all those years ago. The old songs were given a much heavier treatment and included some of my favourites such as “Down in the Park”, “Cars” and closer “I Die, You Die”. Throughout the show Gary stood on stage sometimes pulling back on the mic stand, going down on his knees and then throwing his arms up in the air. Very much the show man. The crowd loved it and gave him one of the warmest receptions I have seen for a long time. Fabulous.
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