David Bowie’s 1972 appearance on Top of the Pops with ‘Starman’ is usually cited as the ultimate transformative performance on the show. As someone who was a couple of years too young for Bowie, Sparks’ debut with ‘This Town Ain’t Big Enough for Both of Us’ seemed similarly iconic. Whilst the seven-year-old me might not have understood the nuances of its imaginative depiction of power relationships, Russell Mael’s staccato operatic vocals, gunshots, thumping glam drumbeats and bombastic keyboards were instantly appealing. These elements were not completely out of place in the glam era but his keyboard playing brother Ron was unlike anything else on the programme with a Chaplin/Hitler moustache and po-faced, unflinching stare into the camera. Although I would not have been able to explain it at the time, their oddball outsider ethos was instantly appealing and I have been obsessed ever since.
In contrast to The Thin White Duke who constantly changed his image, Sparks still look similar fifty years later and time has treated them remarkably kindly but, like Bowie, they have been continual musical shapeshifters. Within a year of their television debut, they were creating their take on the jazz era with ‘Get in the Swing’ while before the 70s were over, they had moved into cutting edge electronic disco through their collaboration with Giorgio Moroder. More recent highlights have included performing their (at the time) 21 albums in their entirety over 21 nights in London, the FFS collaboration with Franz Ferdinand, composing and screenwriting the 2021 film musical ‘Annette’ and being celebrated that same year in the Edgar Wright directed film biography, ‘The Sparks Brothers’. Unlike most bands that came to prominence in the 70s, their output has not dated and they arrive at the Apollo with their 28th album, ‘MAD!’ having achieved their highest UK chart position at number 2.
This constant creativity has seen them both assimilate and influence synth pop, techno, krautrock and dance music into their sound. Such an appetite for moving on to new projects means they have never become a heritage act and is reflected in the makeup of their set tonight with ‘MAD!’ the most represented album comprising five of their twenty song set. They come on to grandiose music that could be the soundtrack to a science fiction movie. The Mael brothers are at the front of the stage with the four remaining members of the current Sparks band behind them. Ron is in a baggy black suit while Russell favours a loudly and intricately patterned textile.
They begin with ‘So May We Start’ from ‘Annette’, an appropriate choice before launching into the opening track on ‘MAD!’, ‘Do Things My Own Way’, a title that could serve as their manifesto. The lighting is austere, almost as if designed to accompany an 80s goth track. As the night goes on, it becomes apparent that each tune has a lighting palette that reflects the song’s mood. Heads are immediately bobbing up and down at the front. From the outset, Russell is in phenomenal voice, undimmed by his 76 years and with an amazing capacity to still hit a strong falsetto.
To consternation, after the third song, ‘Reinforcements’ from 1974’s ‘Propaganda’, Ron leaves the stage. Adlibbing, Russell asks the audience to guess where he has gone. After some outlandish suggestions, it is agreed that a bathroom break is most likely, particularly understandable for a man a couple of months short of his 80th birthday. Russell asks if anyone knows any Giorgio Moroder jokes before suggesting, “A German Italian producer walks into a studio and asks, ‘have you got any hits boys?’” There is no punchline. If Sparks did stand-up comedy, it would be dry but situationist.
Ron returns, a problem with his in-ear monitor having been fixed. Such an interruption could stall the momentum of a lesser band but not Sparks as they race on with ‘Academy Award Performance’, a non-hit from the Moroder produced ‘No.1 in Heaven’, the second most represented album in tonight’s set with three tracks. It is soon followed by ‘Beat the Clock’, a much-desired hit from that record. Written from the perspective of a premature baby, it is indicative of Ron’s idiosyncratic approach to lyric writing. He takes centre stage to deliver spoken vocals for ‘Suburban Homeboy’, Russell rejoining him as it becomes a musical hall style ditty.
The new material fits snugly mid-set with ‘Running Up a Tab at the Hotel for the Fab’ displaying their penchant for skewering the luxury lifestyle and ‘Drowned in a Sea of Tears’ being warmly melancholic. ‘Please Don’t Fuck Up My World’ from 2020’s ‘A Steady Drip, Drip, Drip’ is preceded by an introduction about being written five years ago and the world being imperfect then but now it feels even more appropriate. While Sparks have invariably avoided being directly political, existing in their own unique universe, they somehow still make it apparent that they are on the side of the angels.
The set reaches its traditional zenith with ‘When Do I Get To Sing “My Way”’ leading into The Number One Song in Heaven’. From its opening synth wash, it is compelling as exhilarating beats and vocal crescendos take over while Ron gets to display his robotic dancing skills. It draws the first standing ovation from the balcony.
To complete pandemonium, ‘This Town Ain’t Big Enough for Both of Us’ follows. Even though they are almost contractually obliged to perform it, the song is still absolutely thrilling and would be my first Desert Island Discs choice if Lauren Laverne ever asks. Those on the balcony are back on their feet and for the rest of the night are up and down like an art rock loving yoyo. Next, they delve further back into their archive for the glam tinged, proto punk of ‘Whippings and Apologies’, from 1972’s ‘A Woofer in Tweeter’s Clothing’, its unfamiliarity leading to plenty of applause during its false ending. The set ends with the gently anthemic closer from ‘MAD!; ‘Lord Have Mercy’.
After such a reception, an encore is an inevitability. The deeply pulsing ‘Girl is Crying in her Latte’ is the only choice from their 2023 album of that name. Having missed that year’s tour, it is a disappointment to see its songs so underrepresented as it is one of their best records but they are spoilt for choice and other long-term favourites like ‘Amateur Hour’ have been rested. The reflective ‘All That’ rounds off the night nicely. The cries throughout of “we love you, Ron” shows there is a legion of fans who want their heroes to be the opposite of macho rock showmen, his shuffling and humble manner almost making him the Dalai Lama of the pop world. His significance as the band’s composer and lyricist is rightly recognised.
The standing ovation is the most prolonged I have ever witnessed. Neither band nor audience want to leave. Ron even makes a short speech about how the response inspires them to move on. With the band’s energy and thirst for creativity undimmed, hopefully Manchester will get more opportunities to appreciate the magic of Sparks.
Sparks can be seen on the following dates:
24 June – Glasgow Royal Concert Hall
18 July – Edinburgh Playhouse Theatre
19 July – Wolverhampton The Halls