Deacon Blue: Live Review
It's not until halfway through their fourth song Fergus Sings The Blues that Deacon Blue's lead singer the raspy-throated Scot Ricky Ross deems the audience worthy of a greeting.
By then, they've already raced through two songs from their brand-new album The Great Western Road and whipped the crowd into a frenzy with an exultant rockabilly-fused uptempo Queen of The New Year, thanks to the incredibly tight playing of the band, and the whirling dervish on stage that is Lorraine McIntosh.
Leonie Moreland (Red Raven News)
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But when Ricky speaks, he's full of reflective joy, musing on how it's their last evening in New Zealand and that they'll do "some things you may know and some things you don't," before promising to take us all on a journey.
And what a welcome journey it is to go on.
Forty years in any business is a long time.
But in the music industry, the longevity of bands of the 80s stretches now so far into nostalgia viewing that it can be hard to separate the past from the present - especially if there's a new album in tow as well.
So it is with Scottish troubadors, Deacon Blue, whose mix of ballads and power anthems saw them breakthrough in the late 80s and early 90s. This latest tour, which ended at Auckland's Bruce Mason Theatre, was a celebration of both their new album Great Western Road, their eleventh such release, and hits, such as Chocolate Girl and Wages Day which formed the peak of their early career.
Over time, the group's lost none of its power of performance and at times, it's hard to forget that these solid middle of the road numbers (in many casual listeners' eyes) are still incredibly catchy, packed full of choruses, bluesy riffs and just effervescent joy.
And it's a credit to them that the newer songs sit alongside their older numbers as some of their strongest work. Turn Up Your Radio, with its deceptive chorus, feels as much a part of the band as Real Gone Kid does. That's an impressive feat for any band, let alone one that's been going nearly four decades. Yes, experience pays, but quality always shines through.
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| Leonie Moreland (Red Raven News) |
Though a mostly older and mostly ex-pat audience on a windy Sunday night in Auckland wouldn't have you believing age was anything to hold anyone back. Even Ross noted he wouldn't have the energy to match the woman dancing effusively in the front row of what can generously be described as an amiable jostle pit of fans. One couple were even performing ballroom dancing off to the side during Loaded, their eyes locked on each other, rather than the six talents on stage.
It's perhaps telling that the group who made their name back in 1987 with a song called Dignity brought so much dignity of their own to the Bruce Mason Centre. With an extremely tight set and a perfectly honed craft, the group ploughed through 21 songs and an encore in just under two hours - and even left time for extended riffs in them and plenty of crowd interaction moments while the band played second fiddle.
"Since we were here last, the world has changed so much," Ross wryly noted at one point, before launching an impassioned plea for compassion and promising salvation to the captured masses. There were plenty of moments of euphoria too.
From Real Gone Kid's Woo-hoo chorus through to a goosebump-inducing galloping version of Your Town (arguably one of their best-ever songs), via Chocolate Girl and red rose patterns swirling on the backdrop behind them during When Will You (Make My Phone Ring), there was plenty to remind of their strengths and prowess.
If Ricky was the calm and collected one on stage, he was complemented by the constant tambourine-twirling of Lorraine, a May Day queen dancer caught up in the spirit of it all. Extremely tight playing from drummer Dougie Vipond, keyboard player Brian McAlpine, guitarist Gregor Philip and bassist Lewis Gordon helped build the band's sound and was flawless throughout.
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| Leonie Moreland (Red Raven News) |
And while the audience participation came to the fore plenty of times, Ross also used the rapport to pay tribute to the band's co-founder James Prime and Scottish health minister Jeane Freeman in separate songs that gave him the chance for his decency to shine through.
Great Western Road may have a more reflective edge and there's an argument saying the band's back catalogue offers more crowd-pleasing storming in a barn dance kind of vibes, but Deacon Blue's power remains after nearly 40 years. Their ability to deliver an incredibly energetic look back has served them well here, but the fact their new music feels as fresh and as exciting as their When the World Knows Your Name and Raintown entrants is a testament to their power and prowess.
Long may their stars shine. Their energy and decency still remain intact - they've lost none of it when success rightly came knocking on their door. Here's to them returning again in a few years' time. They ended with a cover of Warren Zevon's Keep Me In Your Heart.
Based on that performance, you can bet we will.
(And also a word of endorsement for support act Steffany Beck. The Kiwi blues country singer has a real presence in a short set of just six numbers, half of which were cover songs.
With an Alannah Myles-tinted Country Strong and a down and dirty Wild One, she proved she's got more than enough mettle and stage presence to match the version of Dasha's Austin and Dolly Parton's Jolene and enough material to stand on her own two feet as she vaults the ladder of success.)