Best known as the commanding voice of Spandau Ballet, Tony Hadley has long held a special connection with Australian audiences. Reflecting on his first visit in 1984, he described it as “the best time a young lad could have,” and, having returned around eighteen times since, his affection for the country remains as strong as ever.
There was no mistaking the support act as Georgia Lines took to the stage, her name emblazoned boldly across the front of her keyboard. The New Zealander entered with a relaxed charm, greeting the audience with a simple “hullo, nice to be here” before easing into Grow Old Without You. With nothing more than her keyboard for accompaniment, her mournful yet soulful voice effortlessly filled the room.
“I’ve never been to Adelaide before. Thank you for being here and coming early for the support act” led to The Letter. There were stories for each song sung, some light and some carrying a deeper personal emotional weight.
Midway through, Georgia said it was up to us to chose the next song. Using the light function of our phones we voted for either Bonnie Raitt’s, I Can’t Make you Love Me or Billie Eilish’s When the Party’s Over. It was a close call and one cheeky person in the audience suggested she do both. “Ok I will give it ago. I have never done this before” Starting with I Can’t Make You Love Me, Georgia paused in the middle of the song, gave the audience a playful grimace and easily slid into When the Party’s Over.
Georgia had the audience singing along with Made for Loving after promising to tell a joke if we sang along. As for the joke, as a comedian she makes a great musician. Don’t give up your music career Georgia. A heartfelt Grand Illusion closed out the set, despite her telling us there was a song or two left earlier. “I talk too much and have to finish. Thank you all for coming early and enjoy Tony Hadley” she told us as she left the stage. It was an engaging and intimate performance from a captivating artist.
Tony Hadley strode on stage in a black suit, white shirt and a spotted cravat, to a rapturous applause. Just standing there, looking out over the audience, he knew he already had them on his side. Taking a seat on a high stool Tony eased into Feeling Good, an Anthony Newley cover made famous by Nina Simone. Chair pushed away after the opening song, Tony promised, “You are going to know all the songs tonight. Rio, Hungry Like a Wolf and Girls on Film”. The audience laughed and this was far from the last reference he would made to his “good friends” Duran Duran over the course of the evening.
The crowd of course had come for the Spandau Ballet songs and Hadley delivered. To Cut a Long Story Short, Highly Strung, and Only When You Leave followed in quick succession. Tony knows how to play the game being the consummate frontman, pointing at a person in the front row and singing to them, posing for the photographers and engaging playfully with the band.
It wasn’t all Spandau Ballet though. A subtle Bossa Nova sound gave us Alibi while Turn Me On showed Tony capable of producing strong songs after Spandau Ballet. With heartfelt sincerity, Tony told everyone “It’s not my fault the boys and me are still not together, but I will always thank to boys for what we did”.
This led to Soul Boy. Naturally all the attention was on Tony Hadley but the band played brilliantly behind him. They were tight, dynamic and essential to the night’s success.
A glass of Jack Daniel was produced as Hadley offered “a toast to you all for coming. This is the best song ever recorded by Spandau Ballet, Through the Barricades. It’s a song about getting on, especially in the madness of what is happening in the world at the moment”. On that sober note Tony Hadley and band produced not only the best song Spandau Ballet ever recorded but also the best song for the evening. After a false ending, Tony sat at the back of the stage, allowing the band a chance to step forward and showcase their talents.
Spandau Ballet’s debut single from 1981, Chant No. 1 (I Don’t Need This Pressure On) was a reminder of the more exuberant side of the 1080’s, while Tony’s absolute love of the band Queen led to a cover a Somebody to Love. After all the ribbing of Duran Duran during the evening, perhaps a Duran Duran song may have been a more appropriate inclusion. Lifeline and Mad About You followed before Tony said to the guys in the audience, “you may have been dragged along this evening by your girlfriend or wife but after this next song, everything is going to be good when you get home”. Cue True, which rang out around the theatre, people starting to stand and sway in time with the timeless music.
There was only one possible follow-up. “No, it’s not a Duran Duran song,” laughed Tony. It was naturally Gold and this time the whole audience stood, sang and danced.
What seems to be obligatory these days with bands, a photo was taken of band with audience before Hadley shared a few handshakes with people in the front row. Tony Hadley and band exited the stage to a happy satisfied audience. Yes, the show leaned into nostalgia and a lot of showmanship, but Tony and band breathed new life into the songs, making them as fresh and vibrant as ever.
This show was pure gold. True!
Live Review by Geoff Jenke