FORTY YEARS ON, AND WITH JUST ONE TWIN REMAINING, THE SECOND LEG OF THE THOMPSON TWINS’ INTO THE GAP UK TOUR FINALLY GETS UNDERWAY WITH A JUBILANT SELL-OUT OPENING NIGHT
Dave Freak
10 MAY
By the end of 1984, The Thompson Twins were international pop royalty. After two well-received (but under-selling) LPs, a reconfigured band had upped their game for 1983’s Quick Step & Side Kick, although it was the following year’s chart-topping Into The Gap that saw the trio really hit the big-time – a mid-80s classic that’s getting a 40th anniversary reappraisal courtesy of Tom Bailey here.
But before his arrival there’s time for a long-haired Geordie with access to a stunning back catalogue of songs unheard live for decades. Brother of Prefab Sprout’s songwriting genius Paddy (currently M.I.A.), Martin McAloon’s half-hour set promises a genuine treat for all: a swift run through the best of Prefab, and by a founding member to boot.
Beginning the set with Cowboy Dreams (a 1995 Jimmy Nail hit) and Life Of Surprises, it’s a shaky start for the Prefab bassist-turned-guitarist – something he acknowledges, declaring: “You do know I’m not a singer... or a guitarist!”
In fact, it’s all a little haphazard, although When Love Breaks Down elicits approving audience yelps before Martin “goes straight for the jugular” with well-received (if loose) stabs at Cars And Girls and The King Of Rock’n’Roll.
Despite the shortcomings, there’s a rough charm to Martin’s strumming and semi-spoken vocals, and where else are you going to hear these songs performed live by someone who originally shaped them?
Departing the stage to much cheering, McAloon appears to be genuinely touched by the warmth. “Phenomenal!” he grins, just as the house lights come up.
By contrast, Tom Bailey’s set is – as you’d expect – a far slicker affair. Dressed in white with ever-present shades, and backed by a similarly-attired tight trio, he’s a constantly moving presence, shifting from guitar to keyboards to electronic percussion, all while singing.
In The Name Of Love gets everyone on their feet instantly, while the less familiar solo tune Science Fiction keeps the energy levels high. A middling cover of Talking Heads’ Psycho Killer, meanwhile, lacks power and is used as a buffer before Tom’s shuffled-up
