Friday, 11 October 2019

Psychedelic Furs, Rock City, Nottingham

Supported by Wendy James

Having seen the Psychedelic Furs last year for the first time in 27 years, excellent as they were, it seems a bit rash to rush back to see them again so soon. In fact I may not have bothered had a certain Wendy James not been announced as the support act. It is an odd combination indeed but obviously a tempting one as I am here.

James' picture adorned many students’ bedroom walls back in the day. Not mine though, she was on the ceiling as the poster was almost life-sized and was too large for the wall. My partner says she always wanted to be Wendy James. I thought she was Wendy James, that’s why I asked her out.

After two huge albums, 1988's Pop Art and 1989’s Velveteen, their record company refused to release their third album in the UK and they split in early 1992. Since then James has had another band called Racine and a few solo records.

Now 53, she reckons it’s exactly 30 years since she stood on this very stage at Rock City. My diary says she’s not quite right. I reckon it's 31 years and a day, as it was the 10th October 1988. I was there.

Tonight’s set is a mix of her back catalogue - solo songs, Racine songs and of course Transvision Vamp songs. There are also some songs from her yet to be released new album 'Queen High Straight' due out next year. James now writes all her own stuff, practically everything Transvision Vamp was written by their guitarist Nick Sayer, and it’s hardly sedate. In fact it’s just as rocky as the old stuff.

The only criticism here would be that a lot of the material is unknown to the crowd. Even a couple of the Transvision Vamp tracks she plays, 'Bad Valentine' from 'Velveteen' and 'If Looks Could Kill' from that third album, are quite obscure.

Despite that she goes down a storm as she can clearly still bang out a tune and of course there are still the biggies of ‘I Want Your Love’ early on and ‘Baby I Don't Care’ which closes her 45 minute set with an almighty 'Waaaaaaaaaah'.

I may not be the only one who’s at a Furs gig again because of Wendy James. Original Furs’ guitarist Roger Morris is back again. I thought his inclusion last year was just a one off? Clearly not. It's good to see you again Roger.

Whereas last time he only played on material from the first two albums, this time he’s also learnt some of the ‘newer’ (post 1981) ones too. We’ll most of them, by next year he could be playing on every track.

The Furs are mightily impressive from the opening ‘Dumb Waiters’ with it’s strangled saxophone courtesy of Mars Williams, through classics like ‘President Gas’, to the closing ‘Heartbreak Beat’ they don’t put a foot wrong. It’s a brilliant run through of their back catalogue which surprisingly only yielded two UK Top 40 hits ‘Heaven’ and ‘Pretty In Pink’. By the way Transvision Vamp had seven. Go figure.

There are a few interesting set changes from the last time I saw them and it's particularly good to hear 'All That Money Wants', 'Like a Stranger' and especially ‘There's a World Outside’ once again.

They even play a rare new track called ‘The Boy That Invented Rock & Roll’, one of only a few new songs by the band since reuniting in 2000. There is talk of a new album next year which would be their first since 1991.

They’re not the chattiest of folk although I think Richard Butler feels it’s best to save his breath for singing in that distinctive voice that has survived the years.

After a 15 song set they leave us before returning for a riotous stomp through India. A great night.

The Psychedelic Furs Setlist Rock City, Nottingham, England, Fall Tour 2019

Friday, 6 September 2019

The Spook School, Rough Trade, Nottingham

Supported by Leggy

The Spook School Setlist Rough Trade, Nottingham, England 2019, Farewell Tour

Wednesday, 14 August 2019

Feeder, Rough Trade, Nottingham


This was a free gig if you pre-ordered Feeder's new album 'Tallulah' from Rough Trade. I had learnt my lesson from before and didn't buy the album in the band's own pre-sale when it was announced months ago and instead waited to see if these launch gigs would again be set up. Which they were.

It saves you ending up with multiple copies of the same album, which clearly the band don't mind you doing as the whole point of all this marketing is to get high sales in week 1 and hence get the album in to the charts. As of the night of this gig the album was due to land at number 4 but the chart itself isn't confirmed until Friday. We shall see where it ends up.

Upstairs in the bar at Rough Trade is a really good place to see a band in an intimate venue, although the place is designed in such a way that only about 20 people can actually see the band.

Feeder are playing semi-acoustically mainly because you can really get a full drum kit on the small stage let alone all your other band paraphernalia but then all Grant Nicholas requires to sound outstanding is his acoustic guitar. That he backed by Taka Hirose on bass, Tommy Gleeson on guitar and Geoff Holroyde on bongos (although they call them something else) and maracas (allegedly down his sock) is a bonus.

They played five full tracks from Tallulah and four oldies although as everybody there were pretty much Feeder hardcore armed with the new album they didn't really need to do the crowd pleasers that they did.

Personally I'd have been well happy if they'd ran through the whole of the new album but it was quite clear they'd only rehearsed the five songs. So the comment by Nicholas that they were making the set up as they went along wasn't quite true.

We got one of those dodgy Feeder votes where he asked for everyone's favourite from Tallulah and when he didn't get the answers he wanted he asked the band instead. Then we got small snippets of other Tallulah songs that Nicholas effectively did solo because the rest of the band hadn't rehearsed them.

Of the ones they played in full 'Fear Of Flying' is my favourite being old school Feeder. It crackles with electricity and is laden with hooks. 'Youth' meanwhile is a summery throwback that will take you back and it's classic upbeat Feeder. While 'Daily Habit' is brilliantly quirky and Britpopish. These three are the standouts from the album and presumably nailed on for November's tour.

'Kite' meanwhile leaves me cold, it's a bit too Beatles-ish for my tastes and sounds like a filler while 'Blue Sky Blue' is them trying a bit too hard to anthemic, stadiumish etc. Give me 'Windmill' instead any day, of which they only play a snippet, with its epic quiet-loud sound. Granted it's not really suited for an acoustic set.

At the end Nicholas asked for requests and got a wide selection of obscurities from long deleted debut release 'Chicken On The Bone' to 2004 b-side 'Victoria'. Honestly if people actually shouted for something half sensible that they could play then we might actually get it! Instead he reluctantly agreed to play 'Buck Rogers' despite the fact I didn't actually hear anyone call for it...

Overall though a very relaxed 50 minute set with some great new songs.

(Photos stolen from Feeder Facebook)

Feeder Setlist Rough Trade, Nottingham, England 2019, Tallulah: Album Party

Saturday, 29 June 2019

Fields of the Nephilim, Rock City, Nottingham

Supported by Red Sun Revival

Support comes from Red Sun Revival, who I didn't know before tonight but they seemed a good choice for the evening as they brought their own brand of Gothic style indie to the table. They aren't new, having been going since 2011 which probably explains why Rob Leydon comes over as a very accomplished front man.

They make good use of Christina Emery's violin which isn't drowned out by the rest of the instruments and gives a certain uniqueness to their sound. It also helps that they are clearly very happy to be here and are given a generous 45 minute set which goes down very well with the crowd.

I’m not sure what the Fields of the Nephilim think to pretty much the entirety of The Mission’s ‘First Chapter’ being played as a prelude to them coming on stage but then I suppose those feuds amongst the various Gothic bands were a long time ago now.

The last time I saw the Nephilim was almost exactly 29 years ago... although after the original band broke up in 1991, I did see Carl McCoy’s short lived variant The Nefilim only 23 years ago ... So, on many levels, as one by one the members of the band emerge out of the haze of dry ice dressed in their trademark Spaghetti Western outrider outfits it is reassuring that not much has changed.

That they emerge to their version of Ennio Morricone’s ‘The Harmonica Man’ from ‘Once Upon A Time In The West’, the track that opened the ‘Dawnrazor’ album back in 1987, it is reassuring that not much has changed.

Yes, the line-up has changed over the years but not McCoy himself, for it seems to have always been his band, as he leans into the mic stand and lets loose with his distinctive voice as we move into the magnificence that is ‘Preacher Man’. A track that over three decades since its release still has the ability to raise the hairs on the back of your neck when they play it live.

From that moment I am totally on board, or back on board if you prefer, as the band deliver an enthralling hour and a half of gothic rock theatre or whatever you want to categorise it as. Whatever you do categorise it as, it's pretty unique.

The lighting is fantastic, the sound is fantastic, the dry ice is irritating for this cameraman.

The only other original member aside from McCoy is Tony Pettitt, who returned to the fold a few years ago, and who stubbornly seems to refuse to adhere to the memo that governs the dress code. So no cowboy hat for him which makes him standout like a sore thumb which is perhaps his intention and perhaps the only way he could steal some attention away from the lead singer.

The setlist pulls on their theatrical masterpieces largely from ‘The Nephilim’ album which means ‘Endemoniada’ becomes ‘Love Under Will’ before we turn to ‘Dawnrazor’ itself, which is epic in so many ways.

At which point I am struck by the thought that not only has McCoy no right to still be able to sing like that after all these years, he also still has hair when none of the rest of us have. In fact he’s got more hair than all the men in the audience put together. Must be a wig. May have always been a wig...

‘Hit single’ ‘Moonchild’ follows and then becomes ‘The Watchman’ before they dip into ‘Elizium’ where the almost poppy ‘For Her Light’ merges, as ever, into the more sorrowful ‘At the Gates of Silent Memory’.

Then there’s ‘newer’ material in 2005’s ‘Mourning Sun’ and 2016’s ‘Prophecy’ before a magnificent ‘Last Exit for the Lost’ closes the show in some style.

The setlist isn’t short on length but is short on songs and it would have been nice to have had some of the shorter punchier songs, mainly from the really old days, thrown in. Maybe one day but for now this is what they do and they are doing it very well.

Fields of the Nephilim Setlist Rock City, Nottingham, England 2019

Saturday, 1 June 2019

The Futureheads, Rescue Rooms, Nottingham

Supported by Fatherson

Fatherson are not a new band, having been formed in 2010 and having recorded three albums, but they are new to me. They come from Kilmarnock and seem to have quite a following, many of whom are packed in down the front tonight.

They open impressively, blowing everyone away with their first song but after the simplicity of the opening number they went a bit arty after that and also a touch robotic, losing a lot of the audience in the process. They’d probably grow on me in time but tonight I felt like I’ve overdosed on them a touch by the end of their half hour or perhaps I was just desperate to get on with the main event.

It’s another box ticked tonight as I finally get to see the Futureheads live, who I totally missed out on when they were in the pomp even missing them at Leicester’s Summer Sundae Festival in 2010 despite having a ticket because I went to the football... Shortly afterwards they went all Acapella on us before disappearing completely, seemingly without trace.

I wasn’t confident we'd see the four Mackems back together and on stage again but here they are, bursting into ‘Yes/No’ from the ‘News And Tributes’ album and seemingly with renewed enthusiasm, which is very infectious. Next comes ‘Area’, bizarrely a top 20 hit from 2005 on the back of a famous cover version they once did. Things are rocking now as ‘Struck Dumb’ and ‘Meantime’ furiously tumble forth. 

Then it’s a pause for breath and a new song ‘Good Night Out’ sung by Ross Millard, then it’s back to Barry Hyde for ‘Decent Days and Nights’.

Another new song ‘Listen Little Man’ and then already we seem to be hurtling towards the finale. The other Hyde, Dave on drums, clearly working from a different setlist plays ‘Radio Heart’ but everyone else plays ‘HeartBeat Song’ which is outstanding, then it’s a particular favourite of mine, the gorgeous, ‘Back to the Sea’ before a fast flowing triple whammy of ‘Skip to the End’, ‘The Beginning of the Twist’ and ‘Carnival Kids’ bring things to close.

We’re all exhausted but they’ve only been going 45 minutes. Earlier Hyde seem to know exactly how many days it was since they’d last played Nottingham, although I’ve no idea if he was correct. He promised to make up for it by making this show last three weeks, which Millard pointed out would be a bit difficult give the 10pm curfew. So, on reflection guys, 45 minutes seems.. well... a bit brief?

The encore is perhaps a little odd. Opening, fair enough, with comeback single ‘Jekyll’ but then continues with two cover versions. Firstly the Television Personalities 'A Picture of Dorian Gray' which they covered on their ‘1-2-3-Nul!’ EP back in 2003 and then yes, they do still play Kate Bush's 'Hounds Of Love'. The song which sort of made their name but you have to say they have plenty material of their own that they could have played which far surpasses it.

This stretches out the gig to an hour but they still finish 30 minutes inside the curfew. In their defence they do look drained, having put their all into it and it is so good to have them back.

The Futureheads Setlist Rescue Rooms, Nottingham, England 2019

Thursday, 23 May 2019

The Juliana Hatfield Three, Rescue Rooms, Nottingham

Supported by Colour Me Wednesday

Colour Me Wednesday look like a new, youthful all girl five piece band but have actually been around for twelve years. My apologies, they’ve aged very well or even not at all. They seem to come on stage reluctantly. Perhaps it’s not their sort of crowd, full of us oldies, but they soon get into. They very quickly look like they’re having a great time, promptly winning the crowd over with their enthusiasm and punchy indie punk songs.

The band, from Uxbridge, are built around sisters Jen and Harriet Doveton. Jen’s vocals are impressively strong, they have great drummer and a bass player who sings every word despite not having a microphone. Afterwards all the old men, and women, of the audience form an impressive queue at their merchandising desk.

A visit to the UK from Juliana Hatfield isn’t a common event and a visit to Nottingham an even rarer one. Her last trip here was in 1993 when this very band played with the Teenage Fanclub. I didn’t catch that gig and consequently this is my first time seeing Juliana in my home city.

That gig in 1993 was billed as a ‘Juliana Hatfield Three’ gig as is tonight, reforming the line up that recorded the album ‘Become What You Are’, of which we hear plenty tonight, before going on hiatus for 20 years. This means we have Todd Phillips on drums and Dean Fisher (Tanya Donelly’s other half) on bass. The ‘Three’ did get back together briefly in 2014 for the album 'Whatever, My Love’, none of which makes the setlist tonight.

However the next thing to say about the ‘Juliana Hatfield Three’ is that there’s four of them with the addition of Joe Keefe playing a second guitar. Keefe worked with Hatfield on her ‘Made in China’ album in 2005, so it’s not surprising to see three tracks pulled from that particular record tonight.

They open with ‘Everybody Loves Me But You’, a solo classic of Hatfield’s from back in 1992 before ‘Feelin' Massachussets’ is the first from ‘Become What You Are’ tonight. To be followed in due course by ‘My Sister’, ‘Spin The Bottle’, ‘President Garfield’ and ‘I Got No Idols’.

Hatfield has a new solo album out at the moment but this is largely ignored tonight, aside from one track ‘Lost Ship’, while her Trump inspired (if inspired is the right word) previous album ‘Pussycat’ from 2017 provides five tracks.

Perhaps they didn’t get time to rehearse her new record but then again 'Pussycat' is excellent throughout and I'd have given anything to hear her play the wonderful ‘Rhinoceros’ from that album. 'Guess who’s getting f***ed by the rhinoceros America?' and of course the man himself is over here in just over a week.

With seventeen albums bearing her name there’s a lot to pull a setlist from, and that’s before you start considering the Blake Babies and other projects she’s been involved in, but I think she's makes a pretty fair selection.

There's even a cover of Olivia Newton-John's ‘Physical’ taken from a tribute album where Hatfield covered thirteen of Newton-John's songs with the proceeds going to her cancer charity.

Her stage manner, as ever, comes across as quite shy and unconfident meaning she doesn’t chat an awful lot but the performance is top notch. Let’s not leave it another 20 years before the next one.

The Juliana Hatfield Three Setlist Rescue Rooms, Nottingham, England 2019

Tuesday, 2 April 2019

The Zutons, Rock City, Nottingham

Supported by Queenzee & The Fernweh

I miss the first band Queenzee but do catch The Fernweh. They are a sort of folk come 60s\70s psychedelic rock band. It seems more of a jam session than a concert amid which you get the feeling that the guitarist is dying to burst into a rendition of 'Purple Haze' but daren’t. They are curiously pleasant but they don’t really hold the crowd’s attention.

How do you cause an argument on the Zutons comeback tour where they are playing their debut album ‘Who Killed...... The Zutons?’ in full. This was the album which was nominated for the Mercury Prize in 2004 but lost out to Franz Ferdinand. You do so by telling the fan next to you that you think their second album ‘Tired of Hanging Around’ was nuch better. Oops.

Tonight, eleven years after their third and final album and, aside from a one-off tribute gig in 2016, nine years since playing live I am ticking another band off my ‘must see’ list. 

The band take the stage and open with ‘Zuton Fever’ off ‘Who Killed...... The Zutons?’, of course.

Personally I’m not a great fan of ‘album in full’ shows so they get great kudos for (a) omitting a track - oddly ‘Nightmare Part II’ (b) not playing it in order and (c) inserting throughout tracks from that superior (ha ha) second album. So, yes, it's a great show.

Despite being a six-piece, your attention is clearly drawn to the three with the big hair at the front of the stage. After an exhausting opening four tracks ending with a delightful ‘Valerie’ both lead singer Dave McCabe and saxophonist Abi Harding take time out to adjust their hair. Dave half-heartedly tries and fails to keep his out of his eyes, Abi simply takes an age putting hers up. Guitarist Boyan Chowdhury just doesn’t care.

While it’s McCabe who does the audience interaction in his thick Scouse drawl, it is Harding who does the dancing. Is now the time to mention her leather trousers which that could be classed as a sexist remark but then had any of the guys been wearing the like I’d certainly have mentioned it too. Also, how can she dance in those heels? And no, none of the guys are wearing heels or even making a half decent fist of dancing.

While the album tracks are well received it is the singles that standout. The more fast paced ones like ‘Pressure Point’ and ‘Don’t Ever Think (Too Much)’ ramp up the crowd but it is perhaps the more nuanced ‘Remember Me’ and ‘Confusion’ that steal the show.

The set finishes with a rather sweet communal rendition of ‘Moons and Horror Shows’ at the front of the stage before the band return for an encore of ‘Hello Conscience’ and then close of course, with the stop-start melodies of ‘You Will You Won't’.

The Zutons Setlist Rock City, Nottingham, England 2019, Who Killed...... The Zutons 15th Anniversary Tour

Saturday, 16 March 2019

The Slow Readers Club, Leadmill, Sheffield

Supported by ShadowParty

To start tonight we have a super group called ShadowParty who consist of some of the members of Devo and New Order although they are not the ‘big’ names from those bands.   

The lead singer is Devo’s guitarist Josh Hagar and originally he was joined by drummer Jeff Friedl but Friedl isn't touring with them on this occasion. From New Order we have Tom Chapman who was Bernard Sumner's bass player in Bad Lieutenant before Sumner invited him to replace Peter Hook in New Order and we have 
Phil Cunningham who has been their guitarist since 2002.

They released an album last year which only really gives a cursory nod to both 'source' bands. That’s not to say it wasn’t decent and it sounds good live but then with all that experience in the band you’d assume they know what they are doing up on stage. American Hagar is quite chatty frontman too even dedicating one song to ‘our horrible orange man'. I wonder who he means.

They are joined on stage by Ellen Lewis, who must be half the age of the rest of the fortysomething band, and she takes lead vocals on one track 'Present Tense' while offering keyboards and backing vocals on the others. Overall, they are pretty good.

Talking of fortysomethings, before the Slow Readers Club come on stage I get chatting to the chap next to me who is a big Readers fan and says he has seen them loads of times. He says the crowds at their gigs are fantastic e.g. just like the old days e.g. lively. ‘The old days’ he says, are the ones that ‘fans like us in our late 30s and early 40s remember fondly’. As he has totally misjudged my age, we are now best friends forever. 

The Slow Readers Club have been slow burning their way through the conscience of the nation over the last eight years. Yes, there’s been nothing quick their rise and they have built the band up the old way, the hard way, through gradually building a fanbase. They remained unsigned, while still maintaining day jobs, until their third album was released last year. Finally, now the band have managed to go full time as a band.

They are about a third of the way through a massive 48 date UK and European tour and tonight they have sold out the Leadmill, making it their biggest gig so far outside of their homeland of Manchester.

They open with ‘Lunatic’, the big commercial moment from that third album ‘Build A Tower’. Everyone knows it and singer Aaron Starkie has to raise his voice to be heard above the singing crowd. From there, the only way could have been down but the Readers have too many good songs for that. 

‘Lives Never Known’ is followed by debut single ‘Sirens’ but they have so many good songs in fact that mixing the set up every night isn't a problem. The 17-song set is pulled in almost equal measure from all three Readers albums with songs from different albums segueing faultlessly into each other. Such as the excellent transition of ‘You Opened Up My Heart’ into ‘Plant The Seed’. In amongst all the old favourites is a brand new track ‘The Wait’. 

‘Forever In You Debt’ slow builds the start of the finale from which ‘Feet on Fire’ and ‘I Saw a Ghost’ from the excellent ‘Cavalcade’ album follow. Then finally their latest single ‘On The TV’. There is no encore, they have already left it all out there.

The Slow Readers Club Setlist The Leadmill, Sheffield, England, UK Spring Tour 2019

Tuesday, 12 February 2019

Tears For Fears, NEC Arena, Birmingham

Supported by Alison Moyet

Tonight we are at the Resorts World Arena in Birmingham. Yes, WTF. Formerly known as the Genting Arena. Yes, also WTF. Ok, I fess up, it's the NEC and I've competed at Crufts in this very arena and we are sat approximately where the weave poles were but that's another story.

This gig was supposed to be in May but it was rescheduled due to Roland Orzabal's wife falling ill and then sadly subsequently dying. All that is fine and unavoidable but what was annoying was seeing the concert moved from a Saturday to a Tuesday and from the nice centrality of the NIA to the ruralness of the NEC where it's also £12 to park your car. Presumably all done by the promoter to sell a few extra tickets. We had a hotel booked for May and a night out in Brum planned but it is what it is.

I’ve never really been an Alison Moyet fan and nothing she can do tonight would be likely to win me over and that’s fine. Other folk like her and she undeniably has a strong voice. Each to their own. However I am a little bemused by her set list choices. She plays a lot of recent material, as you would expect, including several tracks from her latest album ‘Other’ from 2017 but seems to eschew her own solo catalogue on which she made her name.

Alf does play her first two solo hits 'Love Resurrection' and 'All Cried Out' but none of her other hits from the 80s and 90s. No 'Invisible', 'That Ole Devil Called Love', 'Is This Love?, 'Weak in the Presence of Beauty' or 'Love Letters' for example.

Consequently she doesn’t really get the crowd going and then seems to realise this towards the end of the set where three of the last four tracks are Yazoo songs. Not that, I for one minute, think this wasn’t a pre-planned move. It suits me. I've always had a soft spot for Yazoo and everyone is on their feet for the closing ‘Don’t Go’.

Alison Moyet Setlist Arena Birmingham, Birmingham, England 2019, Rule The World (as special guest of Tears for Fears)

Tears For Fears also do something slightly unusual, in that they take to the stage to Lorde’s brooding version of 'Everybody Wants to Rule the World' before launching into the original. Presumably this means they approve.

There follows a very polished ninety minutes of entertainment as Roland Orzabal, Curt Smith and their band run through their back catalogue right up to 2004’s comeback album ‘Everybody Loves a Happy Ending’ and even including 'Break It Down Again' from the period where Orzabal used TFF as a solo project following an acrimonious split from Smith.

Personally I loved the first two albums but they lost me with the different direction they took with ‘The Seeds Of Love’ album in 1989 and seemingly Smith agreed with me as he was gone shortly afterwards.

Thankfully Smith who sang all the early hits, and presumably Orzabal too, still have a lot of love for the band’s debut album ‘The Hurting’ and Smith comments on how the younger generation were now discovering the band through that album. Here’s a thought. How good would it be to hear them play that album in it’s entirety sometime?

He then introduces a run of four tracks from it. 'Pale Shelter' had already been played earlier and now we get 'Change', 'Mad World' and the amazing 'Memories Fade' sung by Orzabal.

If that is his finest singing moment on ‘The Hurting’ then ‘Suffer the Children’ is probably his second finest. So I am at a loss to understand why he hands over vocals on this epic track to backing singer Carina Round. Yes she does a good job but it’s just not right. She is much better suited to duetting with Orzabal on 'Woman in Chains’ which comes next.

The set then loses it’s momentum with the rather tepid 'Advice for the Young at Heart' and the meandering and indulgent 'Badman's Song' before a set closing 'Head Over Heels / Broken' lifts things to a satisfying conclusion.

Naturally I’d have finished things off a little differently, for a start 'Songs from the Big Chair' was criminally underused tonight. 'Mother's Talk' and 'The Working Hour' would have been nice, then perhaps 'The Hurting' followed by the full ‘Broken’ sandwich for 'Head Over Heels' but I'm an awkward sod to please.   

There is then a mad rush for the exits, presumably to get out of the car park. This is something I’ve never understood, just like I’ve never understood people who have never seen the end of a football match because they always leave on eighty minutes. It’s always been all or nothing for me.

The band return to play ‘Shout’ to those who are left, which is still most of us, completing an excellent evening.

Tears for Fears Setlist Arena Birmingham, Birmingham, England 2019, Rule The World