CABARET VOLTAIRE + GAZELLE TWIN – CHALK, BRIGHTON 21.10.26
It’s been 44 years since Cabaret Voltaire played their first Brighton concert, which was at Jenkinsons on 6th June 1982. Ten years after that on 29th November 1992 they played at the Gardner Arts Centre, and returned to the same site last year on 22nd November 2025, which is now the rather wonderful Attenborough Centre For The Creative Arts (ACCA). Thankfully I attended that last gig, but it wasn’t my debut encounter with the band, that was many moons ago, Wednesday 12th February 1986 to be precise, when I caught them at the Town & Country Club in Kentish Town, London. The setlist that night was: ‘Trouble’, ‘Hells Home’, ‘Crackdown’, ‘808’, ‘We Got Heart’, ‘Piledriver’, ‘Just Fascination’, ‘Hey Hey’, ‘I Want You’, ‘Sex Money Freaks’, ‘Shakedown’, ‘Drink Your Poison’, ‘Big Funk’, and encore track ‘Kino’. Some of the tracks have survived the test of time and get a further run out tonight in Brighton at Chalk.
Sadly, this time around it’s The Cabs final UK tour. Thus far they have played Birmingham, Liverpool, Nottingham, Cardiff, Bath, Newcastle, Glasgow and Manchester. After this evening there are just two more gigs (London and hometown Sheffield) and that’s it. The end of a career that first began in Sheffield in 1973, when Stephen Mallinder, Richard H. Kirk, and Chris Watson came together. Chris stayed on board until 1981 and so the group continued as a two-piece until disbanding in 1994. Richard revived the name as a solo project from 2009 until his untimely death on 21st September 2021, at the age of 65. After this Stephen and Chris announced there was to be no new recordings under the name Cabaret Voltaire, but on 25th October 2025 as part of the Sensoria Festival in their hometown of Sheffield, they would be performing a 50th anniversary gig. More gigs followed.
During his Cabaret Voltaire downtime, Chris Watson has been busy with 30 years of sound recording, which culminated in ‘No Man’s Land’, a 40 minute epic auditorium show of a sub oceanic journey of awe inspiring proportions, whereby one becomes fully immersed within an audio installation that celebrates the sounds, rhythms and music from deep below the surface the world’s seas and oceans. This came to Attenborough Centre For The Creative Arts back on 31st March 2018 and we went along. Read our account HERE.
During his Cabs downtime Mallinder has published numerous academic papers, and gained his PhD in music and popular culture from Murdoch University in Australia in 2011 with his thesis ‘Movement: Journey of the Beat’. He now has been researching at the Art Design Media Centre and teaches on Digital Music & Sound Art at the University of Brighton.
Apparently the Cabaret Voltaire name came from the Zürich nightclub that fostered the early Dada movement. The band are quite rightly characterized as among the most innovative and influential electronic acts of their era and they were originally active between 1973-1994.
For some reason or other, this evening’s date was originally booked at the iconic De La Warr Pavilion in Bexhill-on-Sea but it was then switched to Chalk, and so it’s here in Pool Valley that myself and many other punters are gathered for one final ride with The Cabs. This ride comprises 17 select cuts that ran from 8:00pm to 9:21pm, so a nice early finish. To the rear of the stage is a screen which shows videos and graphics throughout the set. Stephen ‘Mal’ Mallinder (vocals, bass, keys, egg shakers, laptop), and Chris Watson (keys, electronics, laptop) are joined by Eric Random (keys, guitar) and Benjamin David Edwards aka Benge (electronic drums). Astonishingly, we have the only photographer in the pit this evening, (Sara-Louise Bowrey) which makes this all the more special.
The lights go out and the intro tape ‘Theme From Earthshaker’ from 1984’s ‘Micro-Phonies’ album sets the scene. The quartet arrive and launch right into ‘24/24’ from 1983’s ‘The Crackdown’ album with its sharp booming electronic beats which is not that far away from Kraftwerk’s ‘Trans Europe Express’. They remain with the same record and blast out ‘Why Kill Time (When You Can Kill Yourself)’ with its faster skippy electronic beat, with Mal on bass guitar. After which he says “Hello Brighton…”.
‘The Set Up’ from 1980’s ‘Live At The Y.M.C.A. 27.10.79’ album is up next which sees Eric switching from keyboards to guitar and he offers a repeated strum, as the beat builds with the addition of Mal on bass, along with Benge’s metronomic electronic percussion. Track four is a real corker, it’s ‘Kneel To The Boss’ from 1980’s ‘The Voice Of America’ album. This has hypnotic electronics with a bossa nova dub bass sound. This was very well received!
Amazingly, the only cut from 1981’s ‘Red Mecca’ LP is the hypnotic deep bass beated ‘Landslide’ instrumental, which is far too short for my liking. There’s more Kraftwerk ‘Trans Europe Express’ vibes on this one too, and tonight’s version also sounds better than the recorded version, with its haunting keys, chest thumping bass guitar and Chris’ electronics also sounding not too unlike early Ultravox material. Sci-fi space sounds swirl around the room and then the pounding beat of the rather wonderful ‘Seconds Too Late’ 1980 single rings out. This really reminds me of the sound that was around in 1981 and heard on Shock’s ‘Dynamo Beat’ and Heaven 17’s ‘I’m Your Money’ singles. It really doesn’t get any better than that!
Mal then informs us that they won’t be performing any new Cabaret Voltaire material, but that they are going to perform a new solo Chris Watson tune titled ‘Tinsley Viaduct’ which is about where they are from in Sheffield. As you would expect, it’s an experimental piece with a Northern industrial landscape vibe, and I found myself drawn to the video screen at the rear of the stage which has some interesting graphics on offer, including tunnels and industrial works. It’s certainly different to when Chris was sound recording the calls of the likes of Narwhals in the frigid Arctic waters of Canada, Greenland, Norway, and Russia.
Next there’s an excerpt of Allen Ginsberg’s iconic 1956 poem ‘Howl’ which is also known as ‘Howl For Carl Solomon’: “I saw the best minds of my generation destroyed by madness, starving hysterical naked; dragging themselves through the negro streets at dawn looking for an angry fix; Angel-headed hipsters burning for the ancient heavenly connection; to the starry dynamo in the machinery of night”. Timothy Leary’s “Turn on, tune in, drop out” then rings out as hair shaking electronic bleeps blast out for the start of ‘Crackdown’ from 1983’s ‘The Crackdown’ album, the tune is littered with sharp electronic pulses atop this booming beat. The set has suddenly gone up a notch!
‘Spies In The Wires’ from 1984’s ‘Micro-Phonies’ album is next with its morse code cutups with a slow booming beat, which has the feel of a Belgian New Beat number. After this Mal introduces the musicians and then a crash sound like in John Foxx’s ‘Underpass’ rings out and they are back to ‘The Crackdown’ LP with the ‘Just Fascination’ big hitter, with its deep crashing beat, electronic handclaps and solid keys backing. It’s that trademark ‘Cabs’ sound which has some added vocoder action from Mal. It’s a very good version tonight, and just as I was thinking that it could be a contender for song of the night, an even better track is selected next, this being ‘Yashar’ from 1982’s ‘Hai!’ album & 1982 ‘2X45’ album. It has trademark early 80’s Cabs beats and cut-ups that lead the way, and this evening’s version has the added benefit of sounding exactly like classic Gary Numan, care of the input from Eric on his synth. Mal even adds to the beat with an egg shaker. This version is an absolute blinder and again better than the recorded tune! “Is that possible I hear you say?”. Well yes, it is. This is the best track of the set thus far!
The quartet are seriously now in the groove and maintain their quality with the arrival of ‘Sex Money Freaks’ from 1987’s ‘Code’ album. This is drenched with sharp electronic pulses courtesy of Chris on his synth, akin to Kraftwerk’s ‘Metal On Metal’, and Mal takes care of the impressive vocoder parts. This is seriously another set highlight that is even better than the recorded version.
There’s some Sheffield bleepy techno rave vs Chicago house action with the arrival of their instrumental ‘Easy Life’ from 1990’s ‘Groovy, Laidback And Nasty’ album. Its funky samba-laden egg shaker action all the way with this one. I had actually forgotten exactly how great this tune is, and DJ’s would be encouraged to mix this in with ‘Break For Love’ by Raze. It’s suddenly become the new best tune of the set and Mal dedicates the track to “Kirky”. Then “booooom” the chest pounding hair shaking beats of ‘Do Right’ from 1984’s ‘Micro-Phonies’ album kick in. It’s an astounding delivery! Mel utters “Thank you Brighton, thank you so much” and the quartet briefly vacate the stage. Whilst they are away the encore tape plays ‘Theme From Doublevision’ from 1983’s ‘The Crackdown’ album.
They return and Mal holds up a finger to indicate “Wait for it…” and then the opening notes of their 1979 single ‘Nag Nag Nag’ ring out, this gave me goosebumps, and this now was the song of the set and remained so! I can remember buying the 7” single in Attrix Records on Sydney Street, Brighton, along with ‘Silent Command’, which sadly doesn’t get an outing today. For ‘Nag Nag Nag’ Eric is showing how masterful he is with his guitar, as is Mal with his bass, and Chris on keys. This version was blimmin’ epic!
Their penultimate choice is ‘I Want You’ from 1985’s ‘The Covenant, The Sword And The Arm Of The Lord’ album which sounds rather like fellow Sheffield outfit The Human League, but the Mk1 version. The quartet sign off with the brilliant ‘Sensoria’ from 1984’s ‘Micro-Phonies’ album. The deep bass notes tonight are rather epic, and the guitar riffs and foot pedal action are terrific as well. After this Mal says “Thank you Brighton, thank you so much”! And that was our lot. It’s been a really top night and it’s certainly going to be hovering around my Top 5 gigs of the year. I only wish that this quartet would not call it a day, as, I for one, most certainly could do with witnessing this all over again!
Cabaret Voltaire:
Stephen ‘Mal’ Mallinder – vocals, bass, keys, egg shaker, laptop
Chris Watson – keys, electronics, laptop
Eric Random – keys, guitar
Benge – electronic drums
Cabaret Voltaire setlist:
(Intro tape) ‘Theme From Earthshaker’ (from 1984 ‘Micro-Phonies’ album)
‘24/24’ (from 1983 ‘The Crackdown’ album)
‘Why Kill Time (When You Can Kill Yourself)’ (from 1983 ‘The Crackdown’ album)
‘The Set Up’ (from 1980 ‘Live At The Y.M.C.A. 27.10.79’ album)
‘Kneel To The Boss’ (from 1980 ‘The Voice Of America’ album)
‘Landslide’ (from 1981 ‘Red Mecca’ album)
‘Seconds Too Late’ (a 1980 single)
‘Tinsley Viaduct’ (new Chris Watson song)
(On tape) ‘Excerpt From Allen Ginsberg’s Howl’
‘Crackdown’ (from 1983 ‘The Crackdown’ album)
‘Spies In The Wires’ (from 1984 ‘Micro-Phonies’ album)
‘Just Fascination’ (from 1983 ‘The Crackdown’ album)
‘Yashar’ (from 1982 ‘Hai!’ album & 1982 ‘2X45’ album)
‘Sex Money Freaks’ (from 1987 ‘Code’ album)
‘Easy Life’ (from 1990 ‘Groovy, Laidback And Nasty’ album)
‘Do Right’ (from 1984 ‘Micro-Phonies’ album)
(encore tape) ‘Theme From Doublevision’ (from 1983 ‘The Crackdown’ album)
‘Nag Nag Nag’ (a 1979 single & ‘Live At The Y.M.C.A. 27.10.79’ album)
‘I Want You’ (from 1985 ‘The Covenant, The Sword And The Arm Of The Lord’ album)
‘Sensoria’ (from 1984 ‘Micro-Phonies’ album)
www.instagram.com/cabaretvoltaireband
The special guest slot this evening was filled by Canterbury born (and formerly Brighton based) composer, producer, singer, and visual artist Elizabeth Bernholz who has since 2009 been going under the banner of Gazelle Twin. My last encounter with her was when she performed a headline set at Attenborough Centre For Creative Arts (ACCA) on Sussex University campus at Falmer on 24th November 2023, where interestingly Elizabeth studied music and graduated back in 2006. She has now become an ambassador for women in music production and an alumnus of the University of Sussex. She is the inspiration behind the Gazelle Twin Scholarship for Women in Music Technology.
Prior to that I caught her when she supported former Ultravox! frontman John Foxx at The Haunt back on 24th February 2012. The Haunt being the pre-renovated venue that we are standing in this evening. All I can recall from the performance that night was that the dry ice machine was on overload and although Elizabeth was performing immediately in front of me I could barely see her, plus the fact that she was wearing all black and had her face behind a veil. Elizabeth’s husband Jez, is an artist in his own right and he performs as Bernholz. I last witnessed live sets from him on 10th June 2017 as support to Heaven 17 at Concorde 2, and then again a year later on 15th November 2018 as support to Blancmange at The Old Market.
The Gazelle Twin musical output skates across a number of genres including electronic, avant-pop and industrial, and you never really know what to expect from this talented artist. To date she has released a minimum of a handful of studio albums, and also soundtrack albums as well as three remix albums, two EP’s and 15 singles.
We are in Elizabeth’s company tonight for 36 minutes from 7:00pm to 7:36pm, and during this time we are rewarded with 9 varying compositions. It’s solely Elizabeth up on stage with two microphones and foot pedals to control them and I suspect the musical backing. The sound is crisp and clear and the lighting is minimal which adds to the mood. Despite her extensive back catalogue, the selected tunes this evening are culled from just a trio of long-players, these being 2014’s ‘Unflesh’, 2018’s ‘Pastorial’ and 2023’s ‘Black Dog’. No doubt these three releases have been plundered for maximum Cabaret Voltaire fan enjoyment – they are a great fit!
Elizabeth takes to the stage, has swept back hair and is dressed in black with a white shirt and long grey basketball boots. The opening selection is ‘Still Life’ from ‘Unflesh’ and it’s an hauntingly eerie song. A second ‘Unleash’ tune follows, this being ‘Belly Of The Beast’ with its booming electronic tribal beats. She certainly has the room interested in what she has to offer! The sprechgesang (spoken singing) vocals and jaunty beat are delivered across ‘Mongrel’, the first of two consecutive cuts from ‘Pastorial’, the second being ‘Glory’ which commences with a recorder, an instrument that those of a certain age were forced to play at junior school. ‘Glory’ benefits from Arabic style wailing atop an industrial Nine Inch Nails type of beat.
The first of three cuts from ‘Black Dog’ is up next, this is ‘Fear Keeps Us Alive’ for which Elizabeth continually switches microphones. One makes her sound exactly like a chap and the other summons her innermost Grimes impression. The slow booming beat kicks off ‘I Feel Blood’, the final offering from ‘Unflesh’. Such is the depth of the sound that the lighting rig attached to the ceiling above us punters actually reverberates, which is very impressive!
The opening notes of ‘Two Worlds’ from ‘Black Dog’ reminds me of The Korgis 1980 hit ‘Everybody’s Got To Learn Sometime’, until the sharp booming beat and sprechgesang vocals kick in and it morphs into a totally different beast. There are impressively sharp electronic pulses, akin to New Order’s ‘Blue Monday’ being stuck in a groove for the penultimate selection, ‘Anti Body’ from ‘Unflesh’. For closing number ‘Unstoppable Force’ from ‘Black Dog’, the dual microphone approach is key to the track with a cyberman marching beat accompanied by a sound like a bow skidding off of a violin.
Every one of tonight’s songs has witnessed Elizabeth very much in the zone. There’s absolutely no crowd interaction of addressing us or introducing the tracks. Preferring the music to do all the talking. With a double handclap for us she vacates the stage and that was it. Suffice to say that it’s been a captivating performance, one which leaves you no idea of what sounds, styles and vocal delivery we are going to get next. Gazelle Twin is an artist with a capital A. I would suggest that a very large percentage of punters this evening were captivated by this performance!
Gazelle Twin:
Elizabeth Bernholz – vocals, recorder, controls for laptop
Gazelle Twin setlist:
‘Still Life’ (from 2014 ‘Unflesh’ album)
‘Belly Of The Beast’ (from 2014 ‘Unflesh’ album)
‘Mongrel’ (from 2018 ‘Pastorial’ album)
‘Glory’ (from 2018 ‘Pastorial’ album)
‘Fear Keeps Us Alive’ (from 2023 ‘Black Dog’ album)
‘I Feel Blood’ (from 2014 ‘Unflesh’ album)
‘Two Worlds’ (from 2023 ‘Black Dog’ album)
‘Anti Body’ (from 2014 ‘Unflesh’ album)
‘Unstoppable Force’ (from 2023 ‘Black Dog’ album)
