Hurts / Performance

"Do you think he looks a bit like Martin Kemp?" my friend asked, as Hurts front man Theo Hutchcraft elegantly strode on to the stage, suit-clad and bouffant freshly quaffed. "Kind of..." I responded, "...I can see where you're coming from"; for it wasn't just in attire and choice of gel-wear that the resemblance had originated, but in overall demeanour; an air of sophistication and of stylish swagger, so reminiscent of the '80s era which clearly depicts and defines both characters. To put it simply, they ain't half bad looking at either and that's before you even get to the music.

I've always favoured The Ritz in Manchester as a live music performance space; its distinctive and understatedly decadent club-feel appealing to the new onslaught of teenage gig-goers, to students, Noughties indie-kids and right up to seasoned live music pros. The 1300 capacity is set just right for the perfect mix of atmosphere and aloofness, whilst the numerous bars dotted around the two-floored venue negate any un-necessary queuing situations. Tonight's show was a sell-out, as Hurts returned home fresh from the chart-topping success of their debut album 'Happiness', whilst also riding the waves of a much deserved surge in perception and prevalence.

Hurts are electropop duo, singer Hutchcraft and synth player Adam Anderson. Bursting on to the scene in the spring of 2010 with their debut single 'Better Than Love', it wasn't until their second single 'Wonderful Life' was released that summer, followed by their album, that critics and music lovers alike really started to pay attention. Staying local, the band recorded their album in Longsight, Manchester; a connection that they are clearly proud of judging by the number of references that Hutchcraft makes to that great of northern cities.

Support came from another local outfit; the ever dramatic yet somehow emotionally indefinable Performance. I have to say that I found front man Joe Stretch to be both peculiar and penetrating in equal measure; strutting about the stage in a near floor-length mac as he doused himself with water at frequently erratic intervals. Stretch is an accomplished author of such titles as 'Friction' and 'Wildlife', whilst also lecturing in Creative Writing at Keele University. Evidently the epitome of the common term 'all-rounder'; Stretch makes up the electro death pop band alongside guitarist Laura Marsden and synth player Joe Cross. The trio have weathered the storms of inter-band romance, drugs and mental illness over the years, to produce such tracks as 'Unconsoled', 'The Living' and more recently their second album 'Red Brick Heart'.’ Playing a six track-strong set, the trio’s energy was every bit as electric as their sound and front man Stretch certainly made a lasting impression on the fascinated crowd. The band's name described their set perfectly; a glance perhaps at what the scene might have looked like should Cyndi Lauper had ever been genetically crossed with Sylvia Plath and Ian Dury.

The headliners peppered the stage with a selection of instruments, including keyboards, piano, trumpet and drums; all of which came absolutely secondary to the dazzling operatic skills of their male backing singer. Looking just like your average session singer, albeit appropriately suited and booted, there was a collective gasp across the crowd when this man began to sing; I was certain that the voice I was hearing had originated from a backing track, then it suddenly dawned on me that we had a fully fledged tenor in our midst. Kicking off their set with 'Forget About You', the crowd showed great respect and appreciation for the local duo, who returned the favour throughout the hour-long set. 'Silver Lining' followed, which is yet another great example of their synthetic wizardry and lyrical prowess. Their eleven-track album, whilst certainly reflectively nodding its head to the new wave sounds of the '80s, doesn't merely offer a carbon copy of that style in a glossy repackaged format. The sharply produced and mastered album leans more towards a pop edge, with a sizeable portion of epic melodies, such as the addictive 'Stay' and 'Blood, Tears and Gold'.

Latest single 'Wonderful Life' was always going to be a crowd pleaser and it didn't disappoint, with a sea of hands in the air and constant chorus-chanting. Hutchcraft's suave and sometimes sombre demeanour on stage was not dissimilar to that of Tony Hadley, back when Spandau Ballet were at their prime; another of my favourite '80s bands. Both singers also possessing remarkable vocal instruments; the perfect mix of rich, deep tones with a force that is able to project right to the back of the room. 'Evelyn' was one such number which highlighted Hutchcraft's unique talents to an unforgettable degree. I think the '80s era produced the most emotive tracks; a power ballad could exist in any genre, it wasn't confined to a world of reality show contestants or token album tracks from American divas. This is why the decade is my favourite period for music; I love the dramatic performances, the wind machines, the glossy men in suits backed up with a solitary brass instrument that appears to have a mind of its own. It was an age of romance and it didn't matter whether you were in to rock, jazz, soul or pop.

A very theatrical performance followed, as the band dedicated a classical track called 'Verona' to everyone who had purchased their album and helped to get them where they are today. Cue much astonishment and awe pointed in the direction of aforementioned operatic backing singer. It was at this point that Hutchcraft mused that northerners were less boring than their southern counterparts as an audience; he then went on to apologise for any offence caused to any southern members of the audience. I've heard this said many times before; perhaps those in the south are just cooler and not as excitable, whereas us northerners just don't care. 'Devotion' followed, which is the album track duet with Kylie Minogue. A definite single release for the coming months I think. Perhaps as a thank you for Minogue's recent Live Lounge cover of 'Wonderful Life', the band next performed the Australian lovely's cult fan favourite 'Confide In Me'.

Addictive upcoming single 'Stay' followed, which is my favourite track at the moment. A simple melody and a simple message, but combined with the power of Hutchcraft's voice and the emotive electro sounds from Anderson, this is a surefire winner. Finishing their relatively short set with 'Illuminated' and 'Better Than Love'; the band thanked the audience for all their support thus far and said that tonight had been an unforgettable one for them. It definitely felt like this had been a rare opportunity to see a band which is destined for great things.

So, with regards to the debate over what constitutes a revival; I would say, don't call it a comeback, but choose to remember the old saying "the things we love never truly leave us, they are always just round the corner."

FUTURE GIGS

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