Around the 1980s, there was a noticeable change in the feel of radio music.
Schisms within genres were becoming much more evident. It was a time when new sounds were being sought, thus creating many more groups trying to capture the new market of teens emerging.
They'd had enough of the glam rock and glitz blitz of the '70s, the staple diet of their older siblings. Punk music was splitting into commercially profitable zones and the darker hardcore stuff which surfaced out on Indie labels (sub-genre diversification).
Running on parallel rails, inside the London underground subculture movement was the new romantic scene, originating in the UK nightclubs of the late '70s. Think Duran Duran, A Flock Of Seagulls, Boy George, Culture Club and say Human League – and you would be on the mark.
I worked at a record company in Australia during that time, and the variety that made it to the Friday afternoon sales/ new release meeting was astounding.
I remember when Spandau Ballet's 'True' album was showcased in March 1983 on the Chrysalis label. That was 43 years ago almost to the day. Wow, that distinctive Tony Hadley voice captured on vinyl. The sales room went quiet – as in very.
Tony Hadley - image © Michelle Cop
Almost the same quiet as the lights sank slowly at The Star Gold Coast on Tuesday night (10 March). Georgia Lines, the solo support act from New Zealand, had completed her set earlier that evening.
After a small break and equipment bump-out, Hadley, from the murky darkness to a full-bodied, superbly-business-dressed figure, confidently took both the black bar stool and the mic.
He was relaxed. We sat wondering which song he would perform first, which in turn surprised almost everybody. 'Feeling Good', a song made famous by Nina Simone in 1965 and 40 years later Michael Buble in 2005. Nice! It set the bar for the opening night of this 2026 Australian tour.
Those overwhelming lush vocals of Tony's? Sensational. No loss of altitude with those top power-notes by slipping down to the fifth or octave below. It would seem no adjustment of the key to compensate for age was made either. Hadley's glorious human sound matching the tightness of this touring band.
Tony Hadley - image © Michelle Cop
Standing out onstage was the percussion muso who reestablished an authentic Spandau feel with the congo-bongo blend. Hadley, ever the versatile artist, distanced it from being a tribute show to make it an evening with feel.
Especially when he sang his own work and included a great story about his friendship with Freddie Mercury. His rendition of Queen's 'Somebody To Love' had the hint of nostalgia threaded through it. It deserved the massive sing-along it received.
'Walk Of Shame' had an underlying Carlos Santana/ Havana style of back-beat, which kept the night rolling along. Both 'Gold' and 'True' were crowd pleasers as anyone would expect they should be.
The waving hands, the pre-lit mobile phones and the word-for-word singing were all definite pointers to why the '80s created some of the best music ever.
Fiercely independent, fresh and memorable. Top show, Tony!
