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Spandau Ballet Soul Boys of The Western World Tour in NY

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Spandau Ballet
The Beacon Theatre / NYCB Theatre at Westbury
The Soul Boys of the Western World Tour
May 2 & 3, 2015

There are a few things that New Yorkers have been waiting for. Both arrived the first weekend in May. The first, Spring-like weather, finally sauntered in, kicking away the chilly undercurrent that has been swirling around since January for once and for all, prompting convertible tops to retract and t-shirts to be worn under the baking sun. The second was even more highly anticipated. Spandau Ballet, the five piece band from Islington, England whose first concert in North America happened at the Underground Club in New York City on May 6th, 1981 returned to the states for their first tour here in America, some three decades later.

1981 was an exciting time for Spandau Ballet and they set out to bring their creative vision of fashion, art and music here to America. Their debut album Journeys to Glory (Chrysalis Records, 1981) was in the top 5 with 3 hit singles under their stylish belts, one being their first single "To Cut a Long Story Short." Tony Hadley, Gary Kemp, Martin Kemp, Steve Norman and John Keeble were part of the New Romantic movement, frequenting the weekly Blitz club-nights with Boy George, Steve Strange and Philip Sallon. The show at the Underground Club was a huge success, drawing the likes of Robert DeNiro, Diana Vreeland and Andy Warhol to attend. The band enjoyed international success and a dizzying catalog of hits. Their 1985 tour of the US was cut short right at the start in Los Angeles when saxophonist Norman badly injured his knee sliding across the stage. By 1990, the band broke up and after some bad blood and a court battle between members concerning song royalties, fans lost hope for a reunion, though the members of the band remained highly visible, staying active as musicians as well as acting and directing.

On March 25, 2009 after some rumors, the five reunited on the HMS Belfast in London to announce their reformation and smaller tour to follow. Though they appeared at SXSW in Austin in 2014 and in NYC for a one off Sirius Radio First Wave Artist Confidential taping in January as well as premieres for their documentary "Soul Boys of the Western World" at DOC NYC in late 2014 and the IFC Center this Spring, the Soul Boys of the Western World tour has been anticipated by fans who have loved the music of Spandau Ballet for decades but have never had the opportunity to catch them live here in the US. Originally scheduled dates for late winter were changed to coincide with the release of the documentary with ticket holders eagerly anticipating their arrival.

The excitement was tangible at the Beacon Theatre in New York City. Their fan demographic, which crosses all lines of age, race and sex turned out in shirts emblazoned with Spandau Ballet across the front in gold, a nod to their hit song by the same title. Others dressed literally in gold, lamé to be exact. The stately and iconic venue positively buzzed with electricity as another photographer and I, both of the same vintage and era, picked out cleverly dressed folks in the orchestra as we leaned against the wall in a photo pit that straddled the left hand side of the cavernous room. A gold lamé button down was spotted on a gentlemen a few rows over as well as a golden prom-like dress on a woman traipsing through the aisles. We were both fans from way back, we discovered as we chatted and tried to keep the giddiness at bay.

The first notes of "Soul Boys" swirled and a blue hue painted the wide stage. When the lights shattered the darkness after Hadley's smooth voice sang the first few lines, the crowd erupted into screams. Hadley, looking tall and dapper in a deep blue suit with white button down and polka dot ascot, cut a strong figure at the center of the stage, his vocals amazingly even stronger than when he took on the studio recordings of the next songs, like "She's Highly Strung," "Only When You Leave" and "How Many Lies." A thick shock of brown hair played above his handsome, ruddy complexion and Hadley strutted the stage like a true showman, pantomiming invisible instruments, running back to the drum kit and joking with the crowd. The band looked sleek and sharp, sophisticated and ready to rock. Gary Kemp, the wordsmith and creator of the band's songs was stationed to Hadley's left. A powerhouse on the guitar, Gary seemed to be enjoying the time on stage, turning in an impressive solo on "I'll Fly For You" that rivaled any of the guitar wizards out there. If we only knew what he meant by the lyrics "Steal the cake to eat the moon," we could cross off one of the great mysteries of life.

New material had its place in the set list, including "Steal" and "This is The Love" though the band gave the fans the hits that they came to hear, constructing the perfect balance of classic songs and new ones. Norman, the chameleon of the band, picked up the guitar, jammed on the saxophone and commanded the bongos, never staying in one area of the stage for long. His boundless energy is amazing to watch and the camaraderie he shares with the other members is apparent when he visits their stations. Martin Kemp, Gary's younger brother, is pure bliss to behold. Not only has he retained his movie star looks, appropriate for someone who has an extensive acting resume including the incredibly popular British show "EastEnders," he has become impossibly more handsome with age. Flanking Hadley on his right, Martin Kemp adds the funky beat lines on the bass and radiates pure happiness as he plays. Clad all in black, he brings steadfast intensity and positively shines, especially on "The Freeze." At the helm perched on a riser from his perch at the drum kit is Keeble, the driving force behind the beat. To watch Keeble lost in his craft is astounding and hypnotic.

The instrumental of "Glow" gave Hadley and Gary Kemp the opportunity to pop off the stage for a few moments while shining the spotlight on Norman on percussion as well as an intense and driving drum solo from Keeble behind the enormous drum kit. Two hours and a hearty set list of over 20 songs flew by quickly and Hadley addressed the crowd with gratitude. "We didn't know what to expect," he said with raw emotion, "But we didn't expect this. Thank you." Elated fans made plans in the lobby to meet up at the show the following night.

The venue of a show is like an extra band member, bringing elements to the night that change the dynamic and feel from other shows. NYCB Theatre at Westbury is unlike other concert halls in so many ways. Located on Long Island, New York, it boasts a round stage, with shows appearing in the half round, as it was for Spandau Ballet's debut there or in the full round, treating concert goers to a spinning stage. The other stand out element is the intimacy afforded to the fans, the proximity of the stage to even the furthest seat in the house is good.

The smaller stage meant losing the riser for Keeble's drums and a bit less space for the musicians to roam. But the ability to interact with the crowd as well as with each other on this, the last night of the US leg of the tour, was a gift to the fans. Close enough to touch them, the fans danced as if it was still the 1980s. But this was no nostalgia show. The staggering energy that the band brought just 24 hours before was back.

Hadley, his voice no worse for wear this far into the tour, positively bounded around the stage, waving and giving the thumbs up to fans who packed the house. "Chant No 1 (I Don't Need This Pressure On)" brought screams from the crowd as did the Blitz Medley of "Reformation," "Mandolin," "Confused" and "Freeze." Gary Kemp provided additional vocals to Hadley's on "Instinction," bringing fans to their feet. Hadley encouraged fans to sing along on "Communication" and got his wish, standing back to back with Gary Kemp, playing for the crowd. Martin Kemp beamed, owning the right hand side of the stage. Keeble was a frenzy behind the drums. Hadley worked the mic stand, lights flashing brightly around the stage and the energy in the room working to a fever pitch. The only time Norman stood still was to play the bongos, otherwise he could be found anywhere on the stage, engaging with the crowd.

"Lifeline" was a highlight as well as the well-known and internationally loved "True" which prompted a plethora of cell phones to be switched to video mode. Another solid two hour show later, the encores came forth: a moving version of a band favorite hit "Through The Barricades" which began with just Gary Kemp on guitar and Hadley on vocals, then expanding to the full band during the song. Hadley promised they would return this summer.

Finally the familiar chords of "Gold" cut through the stillness, Hadley and Martin Kemp raising their arms to the lines "Luck has left me standing so tall." Hadley paused dramatically to ask the crowd "Are you ready? Are you READY?" before jumping in to the rest of the song. Norman's bongo's added flair and Gary Kemp's guitar riffs changed the song up. Martin Kemp smiled widely to the fans to the right as he rocked his black bass and went up to form a front line with his brother and Hadley. "Remember, we were partners in crime," Hadley crooned. Truly, Spandau Ballet were back, partners in crime, brothers in every sense.

Additional Contributions: Mike Perciaccante

Photo Credit: Christine Connallon

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