THOMPSON TWINS’ TOM BAILEY + BLANCMANGE – CHALK, BRIGHTON 20.9.26
The Thompson Twins are widely regarded as one of the most iconic bands of the 1980s. At various stages they had up to seven members, but their best known line-up was as a trio Tom Bailey, Alannah Currie (who is 69 today) and Joe Leeway from 1982 to 1986. I can remember seeing the band perform their first ever Brighton concert when they supported The Teardrop Explodes at Jenkinsons (part of the Kingswest building) on Sunday 2nd November 1980. A venue to which they returned as headliners on Sunday 21st February 1982. Word was getting out about the Thompson Twins and they returned to the Kingswest on 1st November the same year, but this time they were playing at the much larger Top Rank Suite (now Pryzm). Fame and fortune followed and the trio returned to Brighton’s largest venue, the Brighton Centre on both 25th February 1984 and 13th October 1985. They were fantastic concerts, however the very best one I saw was when they played the Hammersmith Odeon on 11th May 1983.
The Thompson Twins were known for their unique fusion of pop, new wave, and synth-driven dance music, combined with an eclectic visual style, the band enjoyed consistent success in both the singles and albums charts throughout the decade on both sides of the Atlantic. They are also among the select group of British artists who successfully “broke” America. For many, Thompson Twins’ cool synth sound was the soundtrack to their lives in the eighties.
With huge success particularly in the UK and the USA. They appeared at Live Aid in Philadelphia with Nile Rodgers on guitar and Madonna on backing vocals. There’s still interest in the Thompson Twins today and in October 2025 BMG released a new best of album ‘Industry and Seduction – A Thompson Twins Collection’ in 3CD and 2 vinyl LP formats.
Thompson Twins singer and co-writer Bailey is regarded as one of the UK’s premier songwriters, performers and producers. He played on Grace Jones ‘My Jamaican Guy’ and Foreigner’s ‘I Want to Know What Love Is’ amongst many others. In 2014 Tom Bailey returned to playing the Thompson Twins catalogue live after a break of 27 years. He now performs under the name Thompson Twins’ Tom Bailey. His shows celebrate the band’s greatest hits, including classics like ‘Hold Me Now’, ‘Doctor Doctor’, ‘In The Name Of Love’, ‘Love On Your Side’, ‘If You Were Here’, ‘Lies’, ‘Lay Your Hands On Me’, and ‘King For A Day’. In addition to revisiting these iconic tracks, Tom also showcases songs from his debut solo album, ‘Science Fiction’ which came out in 2018. The latest Thompson Twins’ Tom Bailey live performances have received ecstatic audience receptions, cementing an ever-growing fanbase loyal and new. Tonight sees Thompson Twins’ Tom Bailey return to Brighton for the first time in 5 years, where he is performing at Chalk for the first time.
The last time I saw Thompson Twins’ Tom Bailey, performing in a venue of a similar size was ten years ago on 19th June 2016 at the 650 capacity Concorde 2 (Chalk can hold around 800 to 825) and I can recall him actually being much better than I had anticipated. Tom was next back down our way on 13th November 2018 as the opening act of the ‘Life Tour’ which also featured Belinda Carlisle, and headliners Boy George & Culture Club. Not ever having been a fan of either Belinda or George, that night I sensibly opted to head on up to the Rialto Theatre (now Alphabet) to catch French indie-poppers Juniore – whose tune ‘Ah Bah D’Accord’ was later picked up by TUI as part of the worldwide TV campaign – along with Black Doldrums, and Circe, it was a great night! Tom Bailey was back in action in Brighton on 16th December 2021 as special guest of The Human League. The bill also featured Altered Images, who incidentally headlined The Factory Live in Worthing two days ago. That night back in 2021 Tom performed a succinct 8 tune set, but thankfully this evening we are rewarded with a set double that length.
However before we get to Tom’s set, we must first address his very special guest for the tour, this being none other than Neil Arthur of cherished British electronic band Blancmange. Tom and Neil are long-time friends and fellow artists from the Eighties synthpop scene and arts culture. Blancmange were an integral part of British musical history from that era. Accomplished wordsmiths with ironic, stylish videos, Blancmange, The Twins and their contemporaries were the epitome of 80’s cool!
Blancmange first came into being in 1979 when Neil Arthur and now sadly departed Stephen Luscombe came together on a musical journey that began with the release of their experimental 33RPM ‘Irene & Mavis’ 6 tune EP. It was very much an experimental release akin to ‘The Dignity Of Labour Pts.1-4’ (The Human League). In these post-punk early days, Blancmange made tape loops and experimental sounds with kitchen utensils, before developing into one of the definitive chart-topping British electronic pop acts. Their ‘Sad Day’ instrumental appeared on the legendary ‘Some Bizarre Album’, a catalyst release that contained the earliest work from not only Blancmange, but also Depeche Mode, Soft Cell, The The, and B-Movie. This was my first introduction to these bands. By 1982 Blancmange had well and truly arrived and began troubling the charts: ‘God’s Kitchen’ / ‘I’ve Seen The Word’ (No.65), ‘Feel Me’ (No.46), and ‘Living On A Ceiling’ (No.7). The day before they released ‘Feel Me’ I caught them at Xtreems (New Regent) in Brighton on Thursday 15th July, I had ticket number 001 and met the band afterwards. Debut album ‘Happy Families’ arrived in September and climbed to No.30. This was the perfect synthpop album and I purchased three copies when released, one for me, one for my then girlfriend, and one for my mother!
My favourite Blancmange tune, ‘Waves’ was finally released as a single in 1983 and made it to No.19. It’s a truly dramatic composition that Neil wrote about his girlfriend. This could quite possibly be the same girlfriend that Neil used to come down to Brighton to visit as she was studying at the Art College, so I would sometimes bump into the tall imposing figure.
‘Blind Vision’ also arrived in 1983 and cracked the Top 10, as did ‘Don’t Tell Me’ in the following year. Releases continued until 1986, but by then the duo amicably broke up. Stephen Luscombe went on to collaborate with Boy George and created The West India Company, a music project that explored and fused traditional Indian music with Western pop. Luscombe suffered from heart problems which forced him to retire, but Neil resurrected Blancmange around 20 years ago and has harnessed a duality of experimentation and seamless pop melodies ever since via a staggering 16 albums since then.
This evening at Chalk is date nine of fourteen, having already entertained crowds in Aylesbury, Bath, Bournemouth, Nottingham, Whitley Bay, Glasgow, Birmingham and London. After this evening the bands whizz off to Guildford, and then onto Cambridge, Buxton, Manchester and York.
Tonight we are rewarded with a 54 minute set, running from 6:48pm to 7:42pm, and comprising a career-spanning 11 cuts. The venue is very busy from the off which must have pleased vocalist Neal and electronic wizard Finlay Shakespeare. The duo take to the stage as the distinctive B-side of ‘That’s Love, That It Is’ single rings out, this being the Indian vibed ‘Vishnu’. They launch right into ‘Game Above My Head’ from 1984’s ‘Mange Tout’ album, followed by the first of two cuts from 2022’s ‘Private View’ album, this being ‘Reduced Voltage’ which witnesses some electronic knob twiddling from Finlay for this slow beat number, with its sharp ending. After which Neil greets the busy crowd “Good evening Brighton” adding “I went for a walk on the pier, it’s amazing”. Penny slot machines were mentioned and then Neil said “You fancy a dance?” and the classic quirky popper ‘Feel Me’ from 1982’s ‘Happy Families’ album was performed. The flashing stage lights during this track added to the enjoyment.
The least popular ABBA single according to streams (most popular is ‘Dancing Queen’) is up next with the story-telling ‘The Day Before You Came’ which Blancmange recorded for their 1984 ‘Mange Tout’ album. The lines this evening were delivered by Neil with true feeling as though he had actually written it. For me, it’s the weakest song of the set, but the punters really enjoyed it as judged by the hearty applause at the end. I would have preferred any of ‘I’ve Seen The Word’ or ‘God’s Kitchen’ both from 1982’s ‘Happy Families’ album or even ‘Last Night (I Dreamt I Had A Job)’ from 2016’s ‘Commuter 23’ album. But I can’t complain as my favourite Blancmange number was next, the dramatic ‘Waves’ from ‘Happy Families’, cue mobile phone torchlights. After this Neil dedicates the whole set to his dearly departed friend Stephen, informing us that it’s been just over a year since he died (13th September 2025 aged 70).
The uplifting beats of ‘Blind Vision’ from 1984’s ‘Mange Tout’ album came next. Neil had the devil in him here and lent forward at the front of the stage and requested a chap on the crowd barrier pass over his phone to Neil. I had assumed that Neil would then film a few lines from the stage and turn around and film the guy and hand it back. Instead Neil simply popped the phone in his pocket! This action was greeted with much merriment throughout the venue, except possibly the poor guy that had his phone confiscated. Was Neil annoyed that the guy had been filming the gig, when he should have in fact been watching the performance? Nah, Neil was just ribbing and after about a minute he retrieved the phone from his pocket and messed about with the buttons and then handed it back to the guy. I really would love to see what was recorded! It was a classic moment of interaction!
The second cut from 2022’s ‘Private View’ album was next in the form of ‘Some Times These’, which to me has the feel of The Human League’s ‘The Things That Dreams Are Made Of’ from their classic 1981 ‘Dare’ long-player. ‘Some Times These’ certainly has some killer synth riffage in it! The crowd hand-clapped along to 2017’s quirky ‘What’s The Time?’ which is found on the ‘Unfurnished Rooms’ album. After which the duo launched straight into a perfect reproduction and homage to Depeche Mode’s ‘Just Can’t Get Enough’ single, which was the closing tune on the band’s debut ‘Speak & Spell’ album. With so many recorded Blancmange tunes to plunder and a shorter set than a headline set, some may wonder why Neil had chosen to include this song, but I tell you what, I’m really glad he did as it took me all the way back to 2nd August 1981, when I heard the track performed live in Jenkinson’s which used to stand between the Brighton Centre and Pryzm. I went to both Depeche Mode gigs that day, the matinee one for under 17’s and the evening show. They played two tracks that night that they never released, ‘Television Set’ and a cover of ‘The Price Of Love’.
Back to Chalk and Blancmange carry on with ‘Living On The Ceiling’ from ‘Happy Families’ which sees Neil hanging the microphone stand out over the stage above the front row punters heads and the venue joyfully sang their “la la la’s”. On its conclusion the song was given the reward it deserved. The duo signed off with ‘Don’t Tell Me’ from ‘Mange Tout’ but not before Neil had thanked Finlay, Tom on sound, the lighting engineer, and ourselves. Neil also announced that Blancmange are going out on tour next year. So by informing us of this, let’s hope that there’s a Brighton date! There should be as Neil says “You are wonderful Brighton!”. Clearly both Finlay and Neil had had a ball as did we judging by the really loud applause and cheers at the end. I want to see more cheeky antics from Neil in the future, as it embellishes the performance and gets the crowd even more onside.
Blancmange:
Neil Arthur – vocals
Finlay Shakespeare – synthesisers, backing vocals
Blancmange setlist:
(Intro tape) ‘Vishnu’ (from 1983 ‘That’s Love, That It Is’ single)
‘Game Above My Head’ (from 1984 ‘Mange Tout’ album)
‘Reduced Voltage’ (from 2022 ‘Private View’ album)
‘Feel Me’ (from 1982 ‘Happy Families’ album)
‘The Day Before You Came’ (ABBA cover) (from 1984 ‘Mange Tout’ album)
‘Waves’ (from 1982 ‘Happy Families’ album)
‘Blind Vision’ (from 1984 ‘Mange Tout’ album)
‘Some Times These’ (from 2022 ‘Private View’ album)
‘What’s The Time?’ (from 2017 ‘Unfurnished Rooms’ album)
‘Just Can’t Get Enough’ (Depeche Mode cover)
‘Living On The Ceiling’ (from 1982 ‘Happy Families’ album)
‘Don’t Tell Me’ (from 1984 ‘Mange Tout’ album)
After a mere 19 minute interlude from live music, things kick off again with Thompson Twins’ Tom Bailey and we are in his company for the next 93 minutes until 9:34pm. In that space Tom and his all-female band a la Robert Palmer’s ‘Addicted To Love’ video style, reward us with 16 tunes. The band are all dressed in black and comprises Charlotte Raven who I saw play her first ever gig with the band at Concorde 2 on 19th June 2016 (keys, space-age looking white electric cello, backing vocals), Meelie Traill (bass, backing vocals), and Paulina Szczepaniak (electronic drums, tom tom, backing vocals). Tom is obviously front-centre and on lead vocals as well as splitting his time between keys and cordless guitars, and the occasional Yamaha DTX drumpads with cymbal, harmonica as well as tambourine.
It’s quite a day today for Tom as he has announced his new forthcoming ‘Triangle Tour’ live album, which includes an eye-striking red vinyl release. This will be dropping on 9th October – snap up yours HERE. Tonight we get all of the 9 tunes found on the record as well as 7 other tunes. I’m glad we are in attendance this evening as we have the only photographer in the pit tonight, so likely the only folk covering the performance, which is quite a surprise.
The set opened with the sole cut from 1982’s Thompson Twins ‘Set’ album, this being ‘In The Name Of Love’, which sees Tom freely moving around the front of the stage with his wireless microphone fitted around his head, and he utilizes the Yamaha DTX electronic drums. The stage lighting is a mass of vertical neon tubes that change colours throughout the set. It’s a great start and Tom straps on the first of his cordless guitars and they begin to play one of his two solo cuts from his debut ‘Science Fiction’ album, this being the title track. A short while into the tune, Tom spots a guy in the crowd who is clearly in some form of trouble and the music is halted whilst the person is attended to. The musicians are summoned off-stage and the unwell fella is taken behind the scenes. There’s a delay of several minutes whilst he is checked over by the venue’s medical staff which includes the sound engineer, so the music can’t start without him. Thankfully all seems to be well and Tom and chums return on stage and take ‘Science Fiction’ from the top. This has no consequences in dropped tunes as we get all of the proposed tracks for the night.
Selection three is the first of a half-dozen tunes found on 1984’s Thompson Twins ‘Into The Gap’ album, this being the catchy ‘Day After Day’. Talking of catchy tunes, there’s another with the arrival of the uplifting ‘You Take Me Up’ from the same ‘Into The Gap’ record. This sees Tom produce a harmonica, which sounds great. The second, and final cut, from Tom’s solo ‘Science Fiction’ album is next, this is ‘Shooting Star’, the intro of which reminds me of the ‘Top Of The Pops’ 1981-83 theme, the one with the falling coloured vinyl singles, namely ‘Yellow Pearl’ by Thin Lizzy frontman Phil Lynott. The beat for ‘Shooting Star’ then dramatically changes and now reminds me of the Stranglers 1982 ‘European Female’ tune.
‘We Are Detective’ from 1983’s Thompson Twins ‘Quick Step & Side Kick’ album is up next and this sees Paulina Szczepaniak come out from behind her electronic drumkit and sit at the front of the stage and play tomtom. Meanwhile, Charlotte Raven switches over from keyboards to the impressively looking space age white electric cello, and also comes to the front. This song has a French accordion feel to it, and to be honest was probably my least favourite cut on the record when released. For me, I would have preferred ‘Love Lies Bleeding’ instead. ‘The Gap’ from ‘Into The Gap’ is served next and is a wonderful slab of Eastern promise with its triple clapping throughout. For this Paulina and Charlotte remain in situ. The pure classic of ‘Sister Of Mercy’ from ‘Into The Gap’ is next. This sees Paulina back on drums and Tom introduces his band as they move around, and he utilizes another guitar. For me, ‘Sister Of Mercy’ is the Thompson Twins tune that I reckon I’ve played more than any others, it has a top quality vocal delivery, and is a real earworm: “She lives in a big white house; All the rooms are lemon, and she’s devoted to life; Of keeping this house just right; The weekends perfectly nice; And she doesn’t talk when he comes home at night, no”.
The performance carries on with ‘Lay Your Hands On Me’ from 1985’s ‘Here’s To Future Days’ album. This tune really gets going when its title arrives, and is almost religious in feeling. It was nice to hear ‘If You Were Here’ from ‘Quick Step & Side Kick’ with its cowbell sounding electronic drum. Tom releases an electronic beat on his keys which strangely reminds me of the epic ‘Fanfare For The Common Man’ Emerson, Lake & Palmer instrumental (which featured the Yamaha GX-1 polyphonic synthesizer), which was a prog rock smash when punk rock was ruling the tabloids. Sticking with ‘Quick Step & Side Kick’, Tom and the girls perform ‘Lies’, for which Tom switches jackets and dons a black sparkly one. He’s back on Yamaha DTX drums duty, Charlotte switches to keytar, which is always a pleasurable instrument to bridge the gap between synthpop and rock. Tonight’s version carries more intensity than all of the songs thus far and reminds me of those brilliant Thompson Twins gigs I went to over 40 years ago.
Tom switches back to his normal jacket and informs us that the next tune is a cover version, this being the Talking Heads ‘Psycho Killer’, which sees Tom give up his keyboard, which Charlotte takes over, whilst he’s on guitar. On completion, myself and my mate wholeheartedly agreed that this has been an excellent version. There are crowd handclaps a plenty for ‘King For A Day’ from ‘Here’s To Future Days’ which I note a trio of hardcore fans at the crowd barrier were suddenly sporting crowns on their heads in homage to the tune. There’s an impressive deep bass synth Blade Runner-esque intro for the arrival of the iconic ‘Doctor! Doctor!’ from ‘Into The Gap’ which sees a crowd full of happy punters all singing along. Again the likes of ELP spring to my mind. It’s another enjoyable tune, after which the quartet vacates the stage for a short while.
They return to perform ‘Love On Your Side’ from ‘Quick Step & Side Kick’ which has some wonderfully funky keys action and easy singalong chorus. There’s more Yamaha DTX drums action and Tom’s briefly on tambourine for the first (and only) time. Once again the sound is intense just like the old days. They sign off with the Christmas vibed ‘Hold Me Now’ from ‘Into The Gap’, cue a house full of arms waving in the air and punters merrily singing along. Tom has a new sparkly-silver cordless guitar with added tremolo action for this song. On completion, the quartet take their front of stage bows and lap up the adulation via a massive applause. “Brighton you are amazing, thank you very much, see you again some time” states Tom and they leave us. It’s fair to say that Tom Bailey has engineered a well-oiled pop machine that keeps the memories of the Thompson Twins alive. No, it’s not as exciting as watching the Thompson Twins 43 years ago, but I’m really glad that Tom is still flying the flag at 72 years young.
Thompson Twins’ Tom Bailey:
Tom Bailey – vocals, keys, guitars, Yamaha DTX drums, harmonica
Charlotte Raven – keys, electric cello, backing vocals
Meelie Traill – bass, backing vocals
Paulina Szczepaniak – drums, backing vocals
Thompson Twins’ Tom Bailey setlist:
(Intro tape including ‘Don’t Mess With Doctor Dream’ (from 1985 ‘Here’s To Future Days’ album)
‘In The Name Of Love’ (from 1982 Thompson Twins ‘Set’ album)
‘Science Fiction’ (from 2018 Tom Bailey ‘Science Fiction’ album)
‘Day After Day’ (from 1984 Thompson Twins ‘Into The Gap’ album)
‘You Take Me Up’ (from 1984 Thompson Twins ‘Into The Gap’ album)
‘Shooting Star’ (from 2018 Tom Bailey ‘Science Fiction’ album)
‘We Are Detective’ (from 1983 Thompson Twins ‘Quick Step & Side Kick’ album)
‘The Gap’ (from 1984 Thompson Twins ‘Into The Gap’ album)
‘Sister Of Mercy’ (from 1984 Thompson Twins ‘Into The Gap’ album)
‘Lay Your Hands On Me’ (from 1985 ‘Here’s To Future Days’ album)
‘If You Were Here’ (from 1983 Thompson Twins ‘Quick Step & Side Kick’ album)
‘Lies’ (from 1983 Thompson Twins ‘Quick Step & Side Kick’ album)
‘Psycho Killer’ (Talking Heads cover)
‘King For A Day’ (from 1985 ‘Here’s To Future Days’ album)
‘Doctor! Doctor!’ (from 1984 Thompson Twins ‘Into The Gap’ album)
(encore)
‘Love On Your Side’ (from 1983 Thompson Twins ‘Quick Step & Side Kick’ album)
‘Hold Me Now’ (from 1984 Thompson Twins ‘Into The Gap’ album)
www.thompsontwinstombailey.com
