Live Review: Tony Hadley

As we ease into our seats, Chris de Burgh's The Lady In Red is just one example from the demographic-friendly selections warming up the venue sound system before this evening's live entertainment: “Tony Hadley performs Spandau Ballet's hits with orchestra.”

The Melbourne Symphonic Orchestra take their places and then Hadley bounds on stage wearing a flattering black suit and performs a cover. False advertising? It turns out Tony Hadley Act One comprises a collection of the Spandau Ballet singer's favourite songs and the high notes in David Bowie's Life On Mars prove a strain, no matter how far he holds the microphone away from his mouth. Hadley plays air guitar with his fret hand and loves a grand hand gesture. After explaining Spandau material won't be touched upon until Act Two, Hadley encourages, “Then you can all remember what it's like to be 14 again. And scream!” He then thanks a fan who yells out “Woo!” by remarking, “Oh, to be whooped,” then chuckles, “That came out totally wrong!” Hadley comes across an affable chap, one we'd all love to have a beer with.

The orchestra, particularly the string section, sound absolutely “beautiful” (Hadley's choice of word) throughout, but notably during Jim Croce's Time In A Bottle. “I know you're all thinking, 'Oh, I just wanna hear Gold!' Don't worry, I'll get there,” he promises.

Act Two opens with To Cut A Long Story Short and Hadley nails it. Those crowd members who are upstanding aptly revert to '80s side-stepping. Hadley admits he's previously been hesitant to sing Musclebound for fear people will expect him to dress like a blacksmith in order to do so: “We did some weird shit in those days,” he observes on Spandau Ballet's music video premises. Hadley alternates between drinking water and liquor, probably sherry, from specific glassware. When Hadley sustains a note towards the end of Through The Barricades, he looks extremely pleased with himself. After thanking us, explaining Australia was one of the only countries to latch onto Spandau Ballet from the get-go, we are treated to Toys from the band's 1981 debut, Journeys To Glory. True – resplendent with breathy, audience-supplied, “Uh-huh-huh-HUH-uh-huh”s – is a highlight and special mention must be awarded the saxophonist. Chant No 1 (I Don't Need This Pressure On) sees a record number of punters on their feet and, when Hadley leaves the stage to “open the bar”, it's probably the most obvious fake encore ever since we haven't yet heard Gold. Plus, the orchestra remain seated.

The song's bongos remind us, “You're indestructabl-lle,” and Gold even scores a Bond-theme insert tonight. There's something a bit cruise-ship entertainer about Hadley these days, and you can tell he hasn't looked after his voice over the years, but there's still some evidence of that rich timbre and operatic vocal control. Those in attendance leave with a spring in their step and, surprisingly, there is no merch available for this tour.