On the day that Sparks announce their forthcoming Live on the Moon album, the intrepid explorers roll into the less exalted but still unique terrain of Blackpool for the first time.
It is also my first visit to the sleekly modernist Blackpool Opera House. Initially built in 1889, the current building is the third one constructed on the original site and was opened in 1939. While the Opera House is an amazing looking venue, as soon as Sparks’s set begins it is clear that there is a problem with the venue’s acoustics which is perhaps understandable as it was designed before anyone had even imagined rock and pop music.
From my vantage point in the fourth row of the stalls, the sound is muddy to say the least. The guitar, bass and drums feel like a rumbling cement mixer. As the Mael brothers sound relatively clear, the parts of songs with just Russell and Ron are glorious but diminished once the others join the fray. It is akin to an overcast day where the sun appears to be breaking through, only for another shower to destroy the promise of summer.
This is especially frustrating as the first half of the set is where they introduce different deep cuts compared to last year’s tour. It means that it is not possible to enjoy the rare opportunity to hear the likes of Mickey Mouse and Sherlock Holmes from 1982’s Angst in My Pants in their full glory, while Ron’s chance to star on vocals with Let’s Get Funky from 1986’s Music That You Can Dance To falls flat. It is noticeable that many in those front rows have been following the band throughout the short tour and it should be noted that the sound problems do not diminish their enthusiasm.
As far as I am concerned, a Sparks gig has always been a guaranteed life affirming event so it is disconcerting to physically be so close to the band yet feel so distant from the music. After taking a strategic toilet break to regroup and consider options, it becomes clear that the security staff are taking a refreshingly laissez-faire approach to the seating arrangements and I take up a new vantage point standing at the back of the stalls directly behind the mixing desk. What a difference it makes.
Admittedly, the first song of this new beginning, JanSport Backpack, is dominated by vocals and airy synths which definitely helps but this is the heavenly Sparks that I am used to and sets up a run of sparkling tunes. Music That You Can Dance To lives up to that description precisely. Russell introduces When Do I Get to Sing “My Way” by mentioning that he has learnt today that Frank Sinatra performed at this venue and recorded a live album here. On Number One Song in Heaven, Ron’s dance is shorter than usual but at 80 he can be forgiven reduced energy and this leads on to probably the greatest song ever, This Town Ain’t Big Enough for Both of Us. There has never been a time in its 52 years where this song has failed to sound fantastic. Russell is in his element, resplendent in a casual grey and white polka dot suit with a pink undershirt that matches his sneakers. Throughout the set he is like a bouncing, over-caffeinated bunny, in constant motion, singing with a still strong staccato falsetto, constantly leading the handclapping. How he can maintain such high energy at the age of 77 is phenomenal.
After a slightly murky and rock heavy Whippings and Apologies, the set ends with My Devotion, which was been added to the set for this year’s tour, the fourth track in the running order taken from 2025’s MAD. Its gentle sway and typically idiosyncratic lyrics make for a great conclusion. The group quickly return for a vociferously demanded encore that begins with (Baby, Baby) Can l Invade Your Country which demonstrates Ron’s unique qualities as a lyricist, in this case mixing sexual politics with what could be interpreted as a comment on US foreign policy. The pulsing, high tempo electronics of The Girl Is Crying in Her Latte is rapidly establishing itself as one of their modern-day classics and is followed by the concluding, lightly anthemic All That.
What makes Sparks unique is that after over 50 years, they are still obsessed with creating anew. What other band of their vintage would have the 2020s as the most represented decade in their set, seven of their 20 songs coming from this contemporary period. Even a rare imperfect Sparks show ultimately is still a joyous occasion. Catch them while you can.
Sparks continue their tour and can be seen at:
Wednesday 17 June – UK, Bournemouth International Centre
Thursday 18 June – UK, Bristol Beacon (SOLD OUT)
Saturday 20 June – UK, London, Tottenham Hotspur Stadium (special guests of Gorillaz)
They return later this summer to play:
Tuesday 25 August – UK, York Barbican
Wednesday 26 August – UK, Southend-on-Sea, Cliffs Pavilion
I was editor of the long-running fanzine, Plane Truth, and have subsequently written for a number of publications. While the zine was known for championing the most angular independent sounds, performing in recent years with a community samba percussion band helped to broaden my tastes so that in 2021 I am far more likely to be celebrating an eclectic mix of sounds and enthusing about Made Kuti, Anthony Joseph, Little Simz and the Soul Jazz Cuban compilations as well as Pom Poko and Richard Dawson.
