An Evening of Electropop

Synthpop and electronic music website The Electricity Club (TEC) hosted their first ever live event at the weekend. Situated on New Oxford Street, The Bowery was the ideal venue for an extended night of English electropop. Featuring a team of TEC DJs and live performances from Curxes and Vile Electrodes, this was an essential event for anyone interested in new synth music.

TEC writer Steve Gray kicked off the night the with first DJ set, starting with some Human League and serendipitously playing a John Foxx mix just as the remixer himself (Paul Boddy aka EMP) walked in: it was that kind of night!

Curxes Roberta and Macaulay settled their pre-gig nerves with a nice cup of English tea ­ the rider of choice for electro acts! As they took to the stage for their first ever London appearance, a hush descended amongst the crowd and expectations were high.

Curxes did not disappoint: with an air of Delia Derbyshire to her, Roberta Fidora looked liked she could not only play her synthesizers but rewire them too. Multi-instrumentalist Macaulay Hopwood seemed equally at home on guitar or keyboard, but it’s Roberta’s voice that most people commented on afterwards. Powerful, emotional, mesmerizing; the diminutive Ms. Fidora weaves around the music so majestically you sometimes miss just how good the songs are too. New track Lightness was the perfect Halloween warm-up, with its eerie build-up and electro-goth sound. Debut single ‘The Constructor’ was very well received, and the frantic electro post-punk of ‘Jaws’ ended their set perfectly. With a few more songs in their repertoire I could easily see Curxes headlining at much bigger venues.

Chi Ming Lai then took to the decks, treating us to an exclusive preview of the new Marsheaux remix of The Human League’s latest single along with other specially selected tracks such as Nikonn’s excellent remix of Lana Del Rey’s ‘Blue Jeans’. The Bowery was pretty packed by now, late arrivals making it down from the upstairs bar in time for the main act of the night.

With the stage dressed in glowing red-eyed Halloween skulls, Vile Electrodes (minus one, since Loz Tronic was unfortunately not feeling too well) made their entrance to rapturous applause.

Opening with the downbeat ‘My Sanctuary’, the Viles duo slowly warmed us up before things really kicked off with The Leopard. Anais Neon looked and sounded stunning, she dominated the stage while Martin Swan worked his Vince Clarkean magic beside her. New song ‘Drowned Cities’ instantly hooked me, its Front 242 ‘Happiness’ vibe reminding me that Vile Electrodes aren’t just any other synthpop band. A second new song called ‘Nothing’ followed before the highlight of the set for me: ‘Empire of Wolves’. This sounded even better than the version on Soundcloud, its deep and dirty throb expertly balanced by The Bowery’s sound man and leaving not just Anais Neon panting for breath by the end of it. The sublime ‘Deep Red’ bathed us all in a warm glow before encore song ‘Proximity’ (another one of my favourites) ended the show on a high.

The merchandise stall had a good selection of CDs on offer, including the beautifully designed 4-track EP from Curxes (each CD looking like a 5″ vinyl record and wrapped in unique music sheet paper) and the brand-new EP from Vile Electrodes, available in three different versions. Since this was the night before Halloween, Anais Neon had made 13 latex covered special editions and these were all snapped up within minutes (note for next year: make 666!) but those who missed out could buy a special version of the EP and have a Polaroid taken with the band.

Special mention should go to talented compere Lady Becca and The Blitz Club’s Rusty Egan who’d come along especially to see Curxes. It’s fantastic that this type of music and this type of event can bring together fans of all ages and from all over the UK (I wasn’t the only one who’d travelled down from Scotland for this!).

In a little over a year The Electricity Club has built quite a reputation for itself, and this was evident by the excellent turn out (for a Sunday night) and general goodwill all round. It’s like a great big party with lots of friends, one guy told me, and I think he summed up the night perfectly.

TEC001 DJ Sets

Steve Gray

Rock & Roll – The Human League

Blinded By You – Tenek

Shatterproof [EMP remix] – John Foxx

Ways To An End – Mirrors

Sleepwalk – Ultravox

Breakthrough – Marsheaux

Photographic (Rex The Dog Dubb Mix) – Depeche Mode

Better Than Love – Hurts

Ride A White Horse – Goldfrapp

Paul Browne

Virtual Love – Hyakkoku Hajime

The Sweetness Of My Pain – Daybehavior

Hot N Cold (Marsheaux Mix) – Katy Perry

Ace Of Hz – Ladytron

3AM – Kleerup with Marit Bergman

Messages – OMD

Derezzed – Daft Punk

The Girl & The Robot – Royksopp

Chi Ming Lai

Sky (Marsheaux Remix) – The Human League

Blue Jeans (Nikonn Remix) – Lana Del Ray

Worship – Rubicks

Looking From A Hilltop – Section 25

Our Love – Donna Summer

Shoot The Bullet – Queen Of Hearts

That’s Not Gay – OMD vs The Ting Tings

Tout Petite La Planète – Plastic Bertrand

Nix Lowrey

For Whom The Bell Tolls – Fad Gadget

Summerland – John Foxx and the Maths

A New Sky – The Presets

Seconds – The Human League

Discipline – Beta Evers

Leave In Silence – Depeche Mode

Cosmeticos Para Christos – Mueran Humanos

Scars Shine – Velvet Condom

M.E. – Gary Numan

In Trance As Mission – Simple Minds

Here’s a complete Spotify playlist with (almost) all the songs played by the TEC DJ team, featuring classic and new synthpop both well-loved and little-known:

Spotify Playlist: TEC001 ­ The DJ Sets

You can also purchase both Curxes songs and the Vile Electrodes EP

This text of this article was originally published at and re-published with grateful thanks to Jer White

The Electricity Club would like to give its grateful thanks to Vile Electrodes, Curxes, TEC001’s team of helpers, Rusty Egan, The Bowery and all those who supported the event to make it a success.

Photos by Mike Cooper and Richard Price

KRAFTWERK Live in 3D at Die Alte Kongresshalle, Munich

Europa Endlos – The Electricity Club Go To Bavaria

For their international assignment, The Electricity Club’s Nix Lowrey and Mike Cooper got together with Parralox’s John von Ahlen and headed to Germany, the spiritual home of modern electronic music, for the premiere of the Klingklang quartet’s new 3D extravaganza. Although three dimensional elements were present at their Manchester Velodrome gig in 2009, this was the first time that a full show of 3D visuals could be experienced to supreme synthesizer classics such as ‘Neon Lights’, ‘Showroom Dummies’ and ‘Tour De France’. With their glasses at the ready, this was what the Anglo-Oz threesome witnessed…

It seems fitting, given that we are reviewing Kraftwerk’s 3D performance, to first consider some numbers: total distance travelled to see Kraftwerk = 11427 miles approximately (10,000 miles of which can be attributed solely to John von Ahlen). Total number of prior Kraftwerk shows seen: 2 (both of which were myself and both of which were post-millennium). Percentage of reviewers who were already ardent Kraftwerk fans: 100%. Percentage of reviewers dissatisfied and requesting a refund: definitely 0.0. Sincerity of review – a vehement 120%.

Neither John nor Mike have ever seen Kraftwerk before, and my experience is limited to one tour, so this review will not comprehensively detail the differences between this and their show at the Velodrome, the Olympia Stadium or any other legendary show of the past. What it will do is confirm for you beyond a shadow of a doubt, that if Kraftwerk bring this show to the UK, you should sell your car, your synth… or even your gran to get a ticket.

We enter the hall at the very last minute, having spent far too long finding the venue, as strangers who have just stepped off a plane into a new city are wont to do. Aghast, as we are caught unawares by the strains of ‘The Robots’ (and then remember that, being Kraftwerk, being German, we should have expected punctuality), we run into the hall to find it completely full… sold out full. We slink into the back row, which mercifully is on a raised step, and are able to see perfectly – which is criminally lucky compared to those who no doubt camped on the doorstep for the perfect viewing point. This is in part due to the curious realisation that Die Alte Kongresshalle is not entirely capacious: in fact, as you will discover, it feels quite intimate. We can’t quite reach out and touch Kraftwerk, but due to their 3D show, they can seemingly reach out and touch us, the robots extending their mechanical arms toward the audience in a surprisingly effective 3D visual show.

3D as a cinematic tool is certainly still in its infancy, in terms of its effectiveness it can be quite hit and miss. Due to a canny decision to use simple graphics, mimicking their visual iconography in covers and clips for each song, the 3D for this show is very well executed.

Mike Cooper’s thoughts: “The visuals are simple, not ridiculously complex, but the quality of images they are projecting is excellent: no pixilation, no judder. They have obviously spent huge money on the sound and picture quality, they’ve thought deeply about the whole experience.”

John von Ahlen: “It’s not just seeing a band perform, but the 3D visuals elevate it far above that. When you go to a gig, you normally look at the band but the majority of a live experience is about the audio. But for this gig, the audio is only part of the experience: not only are there visuals but they are 3D visuals! And the simplicity of the graphics makes it starker and more effective.”

The sound is also impressive – no more impressive than you’d expect from Kraftwerk – but reaching their standard is pushing far above average gig sound quality:

JvA: “Musicians struggle for purity of sound, Kraftwerk nail it in delivering quality music and strong powerful, audio quality.”

Mike Cooper: “This is absolutely one of the best sounding gigs I’ve ever experienced: particularly the clarity. Deep bass with no distortion, loud but at same time perfectly listenable. I know being Kraftwerk you’d maybe expect it to be indistinguishable from the record but you can tell it’s live, just with top quality sound.”

Having said that, the quips about the four almost inert man machines being busy updating their Facebook statuses on their impressively framed laptops flow thick and fast all evening, and much speculation about what in fact is being played live and what is Fletch-style mime takes place. Some of the video of the night floating around YouTube supports our perception that Ralf is singing and playing at least some of the melodies live… this is particularly evident when he forgets one of the lines in ‘The Model’, which is not only a little surprising (they’re more man than machine), but in a way refreshing in that it gives our concert something unique, even if it’s what Ralf doesn’t do, rather than what he does.

A spot poll amongst our team gives the following highlights:

Mike Cooper: “’Numbers’ – particularly because of the way it has been remixed and the 3D on this is one of the best videos all night. ‘Spacelab’ – again, a great remix, true to the spirit of the original but reworked in a techno style. ‘Autobahn’ – the ‘megamix’, particularly the album cover art used as 3D imagery, the VW and BMW driving us down the autobahn in almost a 2D 3D – phenomenal. ‘Aero Dynamik’ – a track I haven’t listened to often… you listen to it and can hear clearly how Kraftwerk were writing the sounds that influenced electro and techno long before anyone else did it.”

JvA: “’Trans Europe Express’ – It was the first Kraftwerk song I ever heard and has a special place in my heart. ‘Radioactivity’ – it might just be my favourite Kraftwerk song, and it’s certainly my favourite song on Minimum Maximum. So to see them live with 3D graphics, it’s just a chilling experience.”

For myself, it was ‘Home Computer’ – being a lover of electro and techno, this song really pre-empts the groove and funk of electro which was again revived in the early 2000s by people like The Hacker and Anthony Rother. Live it is completely evergreen – time stops, it really is Musique Non Stop. ‘Aero Dynamik’ – Kraftwerk’s 21st century response to the sounds of their legacy, this track always kicks Teutonic rear, but live, with the powerful sound, it is magnificent. ‘The Man Machine’ – icily contemplative, with a massive sound stage. So robotically otherworldly, I could swear I’m growing a cyborg arm in response.

So some final words from the boys…

Mike Cooper: “Being in Germany, and hearing them sing in German – knowing they don’t do that outside their home country, and being a non-German hearing it in their original language – we feel special and more privileged. Especially in a relatively small and intimate venue – there were no more than 1000 people there per show.”

JvA: “It’s certainly one of the most memorable live shows I’ve ever been to, and I’ve seen everyone from Michael Jackson to Yazoo. I missed their performance in Melbourne and regretted it ever since, until now. You don’t get to see Kraftwerk every day and it has met all of my expectations both visually and sonically. I would highly encourage anybody who has the opportunity to see Kraftwerk to do so – especially with the 3D show, it’s a once in a lifetime experience. The first Kraftwerk song I ever heard was ‘Trans Europe Express’ in 1977 when it was released, and at the time I’d never heard anything like it. My feelings from hearing Kraftwerk were the same as I got from listening to The Human League’s Love and Dancing; literally unlike anything I had heard before and after that, I knew that my future would be in making music. Kraftwerk are the epitome of electronic music: they are the ultimate in minimal electronics: the combination of composition and performance that all artists should aspire to.”

Special thanks to Mike Cooper and John von Ahlen.

Kraftwerk’s Minimum Maximum live album is released by EMI Records and available as a double CD and DVD in both English and German language versions.


Swedish dreampop duo take us on a Voyage…

While the Nordic regions have produced some sterling electropop acts in recent years, Swedish outfit The Sound Of Arrows (aka Stefan Storm and Oskar Gullstrand) appear to have stepped to the side to craft a particular sound that’s undeniably unique. Having first popped up on the radar on the back of EPs Danger! (2008) and M.A.G.I.C. (2009), The Sound Of Arrows laid out lush soundscapes, euphoric hooks and a series of songs whose lyrics employed uplifting messages of hope and discovery.

This ‘magicpop’ element is the corner foundation for their debut album release Voyage, a record that’s been produced using some classic ‘old school’ synths (including a Korg MS20, Roland Juno 60 and MiniMoog) yet appears to have crafted a sound that’s both evocative, yet thoroughly modern.

Also along for the ride is Richard X, who lends a hand on production/co-writing duties for some tracks. Richard X is an interesting collaborator as someone with has a keen interest in the classic synthpop era (he worked on The Golden Hour of the Future – the compilation album that featured early Human League tunes). He was also responsible for Sugababes’ ‘Freak Like Me’, which was a mashup that included the unlikely choice of ‘Are ‘Friends’ Electric?’.

As an album, Voyage has had a difficult birth, having gone through two previous incarnations before the duo were happy with the final version. Then there were debates with their then-label Geffen, which included arguments about some of the choices for the album. The collapse of the label dropped the album firmly back into the creative control of the band themselves, which (after some more adjustments) has resulted in the definitive version of Voyage.

The album has a strong opener in the shape of ‘Into The Clouds’, a busy layered slice of percussive electropop that starts things off with a bang (and was also one of the most downloaded songs on its original release back in 2009). It’s a tune that breathes optimism and joy (“I’m going to work my way out of this jam/I’m gonna be someone and know who I am”) and can’t fail to resonate with the heart.

‘Wonders’ continues in a similar vein with a glorious widescreen pop banger. Meanwhile, the euphoric synthpop of ‘My Shadow’ crafts one of Voyage’s finest moments. It’s got synth hooks and an impressive production that gives the whole affair impact.


‘Magic’, with its children’s choral touches, is pure escapism with its themes of discovery explored through its simple lyrics (“seize a chance, follow a dream”).

The tempo steps down a notch on tracks such as ‘Ruins Of Rome’ and ‘Hurting All The Way’, which offer up more reflective moments. But these are simply little oases among some top notch tunes. This includes the euphoria of ‘Longest Ever Dream’. A collaborative effort featuring co-writing credits from Richard X – and a captivating vocal care of Sarah Nyberg Pergament (aka Action Biker) – it’s a wistful piece of pop confectionery.

Equally ‘Conquest’ and ‘Nova’ offer panoramic pop moments before the album begins to wind down with the cinematic ‘There Is Still Hope’ and the instrumental ‘Lost City’.

In many ways, Voyage indeed feels like a journey or a film in which the arrangement of songs is crafted like some lost soundtrack. It’s a concept that’s carried over for the promo videos for the singles, which in some cases play out like mini films.

Voyage might not be agreeable to those that appreciate an element of cynicism or a harder edge in their music. There’s certainly more downbeat melancholic elements in the output of many other Nordic acts that The Sound Of Arrows steers around. But the end result is a magical, joyful vision which opens up a world of endless possibilities.

Voyage is out now on Skies Above label.

HEAVEN 17 / BEF Weekender at The Roundhouse

Music of Quality and Distinction Live

“I was once watching Richard Burgess play drums with the National Youth Jazz Orchestra and Carol was a singer in the band. It was really when I was a budding drummer and Richard was a session drummer, I was about seventeen… Anyway Carol was about fifteen and an amazing singer of jazz. I always remembered her and she joined a few jazz bands around the time… Later I was recording in Trident Studio when Martyn Ware called me asking if I could suggest a singer for a track they were working on, someone with a range like Tina Turner or a real singer. Carol Kenyon was firmly in my mind as an amazing talent and I suggested her, found her number and connected them… once I got my copy of ‘Temptation’ by Heaven 17, I knew she was just perfect” – Rusty Egan, 2011

Electronic music has developed in the form of many diverse sources over the years. Take the in-depth German-influenced, vintage synth beat maps, through to the more easily accessible pop-toned song crafting – what you emerge with is a fine continent of channelled influence, on which to build and explore. The Heaven 17 / BEF weekend festival double-header, at the London Roundhouse, offered up the perfect opportunity to rekindle such journeys over land so often treasured. Effectively a career celebration of Martyn Ware who formed British Electric Foundation, the production company set up by himself and Ian Craig Marsh following their departure from The Human League, it was certainly an occasion of distinction. As the billing would suggest, it was an event filled with memories, warm feelings, dancing shoes and the most extravagant party dresses you could possibly imagine. Colourful, it was.

Kicking off on the Friday were Heaven 17 – following up on the success of their 2010 Penthouse And Pavement 30th Anniversary Tour, with a live world premiere performance of The Luxury Gap, in 3D sound. Blending their polished and precise instrumentation with the sophistication of innovative electronics, Heaven 17 as a band, were able to express their own visionary concepts that would etch into mainstream, and slot seamlessly into pop culture. Interestingly, The Luxury Gap was one of the first albums to use the Roland TB303 Bassline Computer which later became synonymous with Acid House!

Acid House aside, Heaven 17 dished up a tempting opportunity to unlock the doors once more, leading us into a world of shimmering electronic pop. However, the critical acclaim of 1983’s The Luxury Gap, which charted at No. 4 in the UK Album chart, is not so much of a secret . Whilst it was performed in its entirety for the very first time this weekend , tracks such as ‘Who’ll Stop The Rain’, ‘Key To The World’, ‘Lady Ice And Mr Hex’ and ‘We Live So Fast’ were making their onstage live debut.

As per the album’s running order, the show opened with the metallic clasps and crashes that was ‘Crushed By The Wheels Of Industry’ – a production line of electronic beats, strobes and funk-driven guitar, all with uplifting piano lines slotted between the cogs of the track. It got the party off to an edgy start, with no shortage of action.

Next up was a bouncy rendition of ‘Who’ll Stop The Rain’ that kept spirits high, courtesy of its funky bass line and catchy synth (hanging on just a couple of notes, yet enough to carve a unique personality all of its own alongside some fine singalong backing vocals). Things slowed up with ‘Let Me Go’, but that didn’t mean compromising on energy, not at all. It reached down to great depths with its big chorus and heavily woven synth textures that cleverly brought richer tones to the fore, plus ultra sharp guitar work just blending subtly in the background.

By the time we grasped the ‘Key To The World’ it was a bright contrast, full of curiously groovy movements. Without hesitation, the time then came to welcome and give in to ‘Temptation’. Although the original 1983 version featured the renowned Carol Kenyon on vocals, this show saw that we were treated to the equally sensational Billie Godfrey’s immensely powerful interpretation – this being just one of many opportunities throughout the weekend for Billie to shine. ‘Come Live With Me’ brought the pace back to touch on essences more smoother and cooler ­but with absolutely no passion missing.

You could almost taste the late night cocktails with ‘Lady Ice And Mr Hex’. A track that flaunted a split personality – busy, slightly eerie jazz like piano that integrated its passing notes of rich individuality, all alongside its alter-ego, that held a funky edge. Sometimes it was hard to believe that a particular cut was born almost thirty years ago – precisely the case with ‘We Live So Fast’. Glenn gave it his best to maintain the speediness on this one, by his own admission. Nonetheless, the audience were happy to leap in time to the animated electronic pulses that were stabilised by clasps of beat – all sounding strangely up to date now (in 2011). Speaking of change, Glenn Gregory’s vocal hadn’t faltered one little bit ­throughout, and sounded just as rich as it was back in the day.

As The Luxury Gap was almost completed, the show didn’t finish with the ballad-like ‘The Best Kept Secret’ however. There was plenty more in the offering, much to audience approval. With the original line-up of Heaven 17 comprising two former members of The Human League, it was highly appropriate for Martyn Ware to revisit tracks from his sojourn ­the sedate ‘You’ve Lost That Loving Feeling’ (as covered by The Human League on Reproduction) and ‘The Black Hit Of Space’. In fact, at this point, it was evident that The Luxury Gap had just been the warm-up.

It wouldn’t be a Heaven 17 show without showcasing cult favourite ‘(We Don’t Need This) Fascist Groove Thang’ which gave way to a tantalising slap bass solo.

Absolutely saving the best until the last, the audience swallowed up the encores – huge crowd-pleasers, the first one in the form of ‘Being Boiled’. This lush and extremely powerful take on The Human League song was given true justice and had the audience diving out of their seats as they revelled in the pure excitement of it all. Then, to follow, and equally as pleasing and energetic, came the dance remix and super extended reprisal of ‘Temptation’. An untraditional twist, with regards to encores, but layered with a driving pulse that every one of the audience now craved – not to mention a truly spine-tingling intro that, once again, danced around the dynamic vocal talents of Billie Godfrey.

If Heaven 17’s Friday evening show failed to send you into a captivating reverie focussed around those dynamic swinging groves, and we can’t imagine why, then the fast paced action delivered on the Saturday certainly would have done.

Saturday night was devoted to BEF and the ambitious Music of Quality and Distinction covers project. Volume 1 effectively relaunched the career of Tina Turner while Volume 2 fully revealed Martyn Ware’s love of soul music. The forthcoming third volume Dark promises happy songs reworked in a more sombre electronic manner. In true keeping with the weekend’s exclusivity theme, the set featured only four songs that had been played live previously. Picking up on the general atmosphere around the venue and many comments, this had been the night everyone had been waiting for – the most anticipated. A host of classic talents, all brought together on one stage ­there were great expectations for a glittering show.

Glenn Gregory opened the show and performed ‘Wichita Lineman’ before the stylish, sharp-suited Ultravox front man Midge Ure took to the stage to perform David Bowie’s ‘Secret Life of Arabia’, followed by an immensely passionate version of Roy Orbison’s ‘It’s Over’. Despite the shouts from the audience, there was no slot for ‘Vienna’ tonight, although that said, Midge did warn us, slipping in the notification between a joke about synth reliability! Kim Wilde held a captivating stage presence; still looking great as she performed three songs – among them was a fiery rendition of her 1986 hit record ‘You Keep Me Hangin’ On’, originally recorded by The Supremes and part of Volume 1. Her rendition of ‘Everytime I See You I Go Wild’ with its stark Depeche Mode-styled Roland System 100 backing will be one to look forward to on the new BEF album. To follow, the atmosphere mellowed blissfully, with Green Gartside singing ‘Didn’t I Blow Your Mind This Time’ and ‘I Don’t Know Why I Love You’.

BEF was never going to be without the huge vocal workouts, and this is where Heaven 17’s female vocalists came in. Both Billie Godfrey (who was the first western vocalist to record a full album in Japanese) on ‘Smalltown Boy’ and Kelly Barnes on ‘Co-Pilot To Pilot’ certainly showed their virtuosity, with Glenn Gregory commenting on Kelly having the best twenty-four year old voice he’d ever heard. He’s got a point.


As the night drew to a close, Noisettes vocalist Shingai Shoniwa gave her heart to her performances of ‘A Change Is Gonna Come’ and ‘God Only Knows’. Meanwhile, Sandie Shaw stunned the Roundhouse, not only with her lively and seductive ‘Walk in My Shoes’ ­ and yes, she was barefoot – but also, arguably, the most stunning outfit of the evening. At that point, she owned the stage. Finally, to close, Boy George took to the stage to huge applause, in perfect make-up and sporting a bright pink hat. Sure enough, ‘These Boots Are Made for Walking’ really did wonders to aid a brisk pace. He even took time to joke with Martyn Ware about a Gary Glitter concert they both attended and how the autograph he’d obtained was probably worth nothing now! With so many different highlights, it was a monumental production that was pulled off admirably, and it’s virtually impossible to pinpoint every specific talent – everyone had something unique to offer.

There was no doubt that this weekend would be bountiful and, true to promise, BEF unleashed plenty of electro pop hooks with soulful visions and captivating vocals – all of which soared great heights and formed perfect melodic arcs. By the time the all-star finale featuring the iconic ‘Temptation’ came around, it was time to think fast-paced action sequences, contrasting artistic talents, not to mention throbbing pulses of electro pop, all tinted with soulful extravagance. Billie Godfrey led the upbeat anthem with the audience cheering their approval, while Sandie Shaw and Glenn Gregory were in fine duet. You can add to that plenty of fun – certainly judging by the huge smile that was etched across Boy George’s face.

Special thanks to Peter Noble at Noble PR.

BEF 1981-2011 3CD boxed set is available now on Virgin/EMI Records.

Photos by Jus Forrest.