Articles

Kill Murray – Microscopic Feel EP

Wed, 15 May 2013 09:29:37 +0100

By Ed Dyer

Oxfords Kill Murray are a band happy to blaze their own trail, taking cues and ideas from a myriad of wide ranging influences, mixing them up and stamping their own identity on the resulting sound. Unusually for a band at their level they also manage to infuse each song with very different identities to each other, but still wind up with a collection that has an artistic cohesion to it.

Following on from the excellent “A Drug To Shake You Up” EP this recording commences with the impressive single “For The Kids”. A great blend of electronica, pumping beats and off-kilter guitars the cleverly written multiple strands of melodies show how accomplished the band have become, unafraid to combine a retro sounding electro-loop with the more indie / alternative sounds and vocals that hit some impressively high notes as well as containing some sweeping, melodic and downright anthemic passages. This sets the stall out nicely, as following it up is the smooth pop of “Terror”, a perky song that brilliantly just seems to slide into your ears without touching the sides and then ambles around your head in a billowing and somewhat tickly manner. Full of eighties synth-pop inspiration and with some judicious Brit-Pop appropriation, there is a lot of Suede rolling around this tune, which is something I am very happy to hear.

“Everything For Free” attempts to fill the space left by the demise of LCD Soundsystem. Although not quite reaching those heights it is nonetheless a driven, funky track with an uplifting, arms aloft chorus that invites you to join in with it, again nicely contrasted with the more effusive elements of the track. More familiar sonic ground is covered with the buzzy guitar led “Hotel Zoo”, with an early 90’s American-indie feel running through it that see’s it career along like a Buffalo Tom Record on Red Bull. Closing track on the EP proper is the moodier “Colours”, initially sounding like The XX if they had had a good night’s sleep and hearty breakfast before descending Beatles style into a wigged out noise-fest.

Bandcamp downloaders are then treated to 2 bonus tracks; “Pheromones” - a fun grungy, garage rock tune that is equal parts Mudhoney and The Pixies , and deserves credit for the lyric “pheromones make pharaohs moan” and a remix of “Everything For Free” which is relaxed, curious but ultimately doesn’t excite like the rest of this collection does.

I applaud Kill Murray. This is an impressively polished effort that shows a high level of comfort in what they do, as well as a blatant disregard for conventions and a total lack of fear to mix things up and try something that is a little different. Cementing their position as my favourite Oxford band this excellent EP should make them stand out from their peers and if there is any justice in the world ensure they don’t operate under the radar like this for long. Someone needs to wave a recording contract under their noses so we can have even more of this beautiful noise!

For links or to buy a CD or download of Microscopic Feel visit http://killmurray.bandcamp.com/

To Sleep - A review

Thu, 02 May 2013 16:31:08 +0100

By Victoria Twigg

Watching a play depicting the final tortuous moments of two suicidal companions, may not sound like your idea of a good night out. But to say Matt Fox’s latest play, ‘To Sleep’ is about the depressing subject of suicide, is to suggest Life of Pi is about a tiger in a boat i.e. you’re missing the point.

Staged in the intimate back-room of the Victoria Pub in Swindon’s Old Town, To Sleep tells the story of 17-year old Hayley (Ellie Lawrence) and 39-year old Martin (Peter Hynds) who meet in dubious circumstances in A&E – they have both ‘hurt their wrists’.

Hayley – a predictable surly teen, spits sarcasm and unsympathetic put-downs at downtrodden Martin. She cares little for his bandaged wrists and how they met a ‘Stanley knife’: “Got to be careful with those arts and crafts” she teases.

Over 60 minutes, we learn why the pair are suicidal; leaving the audience to ponder the uncomfortable dilemma of whether there can ever be moral justification for taking one’s life.

Perfectly placed black humour is subtly peppered throughout the performance as it boldly deals with the practicalities of ending a life – ‘Hanging….paracetemol….bullet to the brain?’ The dilemma of what to wear – ‘dress …three-piece suit….rock t-shirt?’ And what details to include in a suicide note: ‘If I can raise a smile on the face of the person who has to clean this up, then I won’t feel quite as bad.’

It’s an audacious endeavour to pair suicide with humour, but Fox does that as sublimely as brie and grapes; strawberries and balsamic vinegar. It shouldn’t work, but it does.

However, there are moments where Lawrence’s over-the-top tortured teen act is irritating and it is hard to sympathise with her character, even during the play’s final disturbing minutes. But her enthusiastic attempts to perfectly portray a suicidal teenager should be commended. She is at the start of her career on the stage and, unlike her doomed character, she has a lifetime to get better.

To Sleep is a powerful production of tragedy, trauma, regret, life and friendship. Don’t be deterred by the uncomfortable subject matter. Undeniably, To Sleep is heart-breaking, but its tenderness makes it thoroughly watchable. It is tragic but beautiful; you’ll be pleased you went to see it.

The Computers love triangles, hate squares but rock yards

Thu, 02 May 2013 16:17:31 +0100

By Ed Dyer

The run of impressive in-store mini-gigs and signings at independent record store Sound Knowledge in Marlborough continued this week with an incendiary show from Exeter rock n roll punks The Computers.

Promoting just released 2^nd album “Love Triangles, Hate Squares” they squeezed onto the small stage set up in café-bar Azuza, no mean feat when you also have a large keyboard, drum kit and amplifiers to wedge on with the musicians, guitars and PA gear. But immediately, front man Alex resolved the issue by jumping down from the stage, complete with guitar and mic stand and proceeded to spend most of the rest of the show at various points around the room, mainly from the middle of the audience but also on chairs, tables and the bar-top. This spectacle, coupled with him grabbing random folks for little ballroom dances, some choice witty banter and the contagious nature of the songs ensured the room was soon bobbing along with him, clapping and stamping, and probably all wishing, like I was, that we too had funky slicked back quiffs and sharp matching suits with skinny ties. The effort put in from the band was incredible. They were super-tight, a fantastically well-oiled machine who seemed not bothered they were playing in a café in a small provincial market town. The professionalism was a pleasure to see and spilled over into the signing session where faces were pulled during photos and albums were signed with jokes and flourishes.

Musically the band have refined their sound for this record. Vocals are less shouted, and the 50’s rock’n’ roll influences are writ large and not just in the kitsch quiffs and skinny matching suit image. The songs are a blend of classic rock ‘n’ roll, rockabilly and punk, rammed with catchy melodies, piano solos and chant-along chorus’. But balancing that retro fine line, on occasion they slip off, sounding like a 50’s pastiche with one-dimensional ideas. Luckily, more often than not the blend of old and new works well, sounding fresh and sunny, not yet in the same league as The Hives, but heading that way for certain. It did generate the amusing thought you could play parts of this record to your granny, lulling her into a beautifully false sense of security with the sounds of yesteryear, but scaring the support stockings off her when things kick into a different, more up-to-date ferocious gear.

Live however, the band and the songs really come to life, both bursting with energy. The music has a rawer and scruffier, more chaotic feel to it, as if the band are pushing at the rock n roll constraints, itching to let go and dial it up into a full on garage-punk assault. So buy the record, it is a fine sounding album, especially for the hoped for sunny months ahead, but more importantly go see The Computers live, chances are they will be one of the best bands you will ever see.

The Madam Renards Mini Fringe – How did it go?

Thu, 25 Apr 2013 11:20:22 +0100

By Matt Fox

So it’s now 3 weeks since the Madam Renards Mini Fringe, Swindon first ever fringe theatre festival.

So what to make of it?

Well frankly (and I realise that I’m incredibly biased), as the first event of its kind, I think it was a sterling success.

The five days event went as follows…

Day one – Friday 5^th April

Much of this day was spent with us running around, sorting out the final arrangements for the festival, and generally preparing for the weekend. We had tech set up happening for the first two fringe shows, One Act Play and Oedipus in the Great Hall at Steam, and simultaneously were setting up for the Mini Fringe Launch Night in Steam’s Hawksworth Hall. The Launch Night itself kicked off at 7.30pm and the (rather larger in number than we were honestly expecting) guests were greeted with champagne, canapés and the beautiful voice of opera singer Yvette Cummings. After Yvette’s set, we immediately had 45 minutes from celebrated Swindon band The Bateleurs, who provided a folk soundtrack as people milled about and generally had a good chat. We then had a wonderfully atmospheric performance of Funny Ha Ha from Whole Hog Theatre (who incidentally went on to win the Harold Jolliffe One Act Play festival the following weekend) before returning to the Bateleurs to finish off the evening. From the various event photos and comments, the Launch Night seems to have been a great way to start the Mini Fringe, and something we’ll extend next year - the tables themed to each fringe performance seemed to go down particularly well.

Day two – Saturday 6^th April

We started very early as we set up for the Artists Market in Steam…unfortunately, although we had some fantastic work on display, we didn’t have a massive footfall, due to small visitor numbers at Steam that morning. Next year we will probably include this market in the Launch Night itself, so that the artists can be more involved in the festival as a whole, and show off their wares to a larger number of people…(these kind of learning points however, are what the first event was all about).

At 2pm we had the first official Mini Fringe show, in the form of One Act Play, a surreal play written by myself and performed by Peter Edge-Partington & Mary Farragher. This show seems to have gone down incredibly well, and indeed has received a very good review from Abby Sparrow (click on the link to see it in the Ocelot magazine http://www.theocelot.co.uk/post/19/04/2013/one-act-play-a-review/)

At 3pm we had the second performance, this time in the form of Oedipus from TS Theatre. This take on classical theatre, was a fabulous thing to have included in the Mini Fringe, and again received an excellent review from Abby Sparrow (http://www.theocelot.co.uk/post/18/04/2013/oedipus-a-review/). Indeed, it’s not often that you get a chance to see this kind of thing in Swindon, and that in essence, is exactly what the Mini Fringe was all about.

The day finished with another performance of each show, ending the Steam leg of the festival, and two brilliant days of art.

Day 3 – Sunday 7^th April

It was another crack of dawn wake up call, as we moved to Swindon Dance’s Town Hall Theatre, for the next two productions in the Mini Fringe. Time was tight as we did tech set ups for Madrababes (written by myself and Jessie Thompson), and The Last 5 Years from new company Modern Musicals. With the excellent support of Sarah Wrixon and Richard Abrams however, we managed to get both shows set up and ready, for the first performance of Madrababes to kick off at 2pm.

All involved in this brand new show would admit that we really didn’t know if the audience would take to it or not, (having grown very bored of the jokes ourselves, by the time it appeared on the stage). It seems however to have gone down a storm, and again received a very favourable review (http://www.theocelot.co.uk/post/18/04/2013/madrababes-a-review/); audiences really enjoying the juxtaposition between silly humour and sophisticated music.

At 4pm came the first performance of the best attended piece of the festival, Modern Musical’s The Last 5 Years. It was brilliant to see this celebrated piece in Swindon, and have an ‘all bells and whistles’ musical production within the fringe. There were strong performances from the performers, excellent technical work from the musicians, and the limited space available, was used very effectively. Unfortunately our reviewer had a sudden call to get back home before being able to see this show, however, the huge number of facebook comments received certainly proved it to be incredibly popular with the audience (have a look at the here - https://www.facebook.com/?ref=tn_tnmn#!/photo.php?fbid=392533567521268&set=a.351084384999520.84610.351078951666730&type=1&theater)

We had another performance of each show that evening, and ended the third day of the festival with surrealism, classical theatre, contemporary musical comedy and modern musical theatre, having all featured in the Mini Fringe…

Day 4 & 5 – Monday 8^th & Tuesday 9^th April

Luckily days 4 & 5 were far more leisurely affairs, with performances only taking place in the evenings. The venue this time was The Victoria, a small and intimate venue used mainly for music gigs, but surprisingly suited to fringe theatre performances.

The two shows performed were Nights, a contemporary opera by myself and Jessie Thompson, and To Sleep a new play by me, produced in partnership with TS Theatre. Audience numbers were not huge for the pieces, but this worked fine in the small venue. On the Monday night Rob Burbage came to see both shows and provided another excellent set of reviews (http://www.theocelot.co.uk/post/09/04/2013/mini-fringe-nights-to-sleep-double-bill-a-review/). It was particularly nice to see several unknown faces in the audience for these performances, and people coming to see shows they knew nothing at all about. We repeated Nights & To Sleep on Tuesday (to a slightly larger audience), which brought the Mini Fringe to a close…contemporary opera and a gritty realist play having been added to the festival mix.

As said at the start, although there are a whole host of things which we will improve and build on for next year’s festival, the Mini Fringe can only really be viewed as a success. It has certainly led to a number of other companies and venues contacting us at Madam Renards to express interest in being involved next year, and even better, and number of new writers expressing an interest in having their work featured in the event. This new and unperformed material being really at the heart of the what the festival is all about, and with the current squeeze on arts finances, the thing which is most in need of support and showcasing opportunities.

Plans for next year’s Mini Fringe are already starting, and it is likely to be around the same time as this year’s event. Any companies, writers, venues or performers who wish to be involved should contact Madam Renards by either phoning 07876766088 or emailing Jessie@madamrenards.com

Thanks to everyone who supported the first Mini Fringe, and for those who didn’t manage to get along, it would be brilliant to see you there next year, to give original theatre in Swindon the support it needs, and indeed deserves.

Matt Fox

Producer - Madam Renards

One Act Play - A review

Fri, 19 Apr 2013 10:20:23 +0100

One Act Play - as part of Madam Renards' Mini Fringe

By Abby Sparrow

Breaking the fourth wall, the last time I can recall experiencing this was when Meryl Streep in Mamma Mia, looks directly at the screen and invites the cinema audience to sing along at the end of the film. One Act Play is a 30 minute piece which destroys the fourth wall completely around the 5^th minute.

We are greeted by a middle aged couple in bed, roused from their slumber by Dvorak’s New World symphony, synonymously paired with Hovis to us Brits, bedecked in nightcaps that even Mrs Bennet would shy away from. Broad Yorkshire accents start the piece right from the off, each character’s monologues displaying to the audience their ideas of culture. The woman describes Les Miserables and the benefits of beards, the man speaks of the latest production of Two Gentlemen of Verona.

The stereotypical Northernisms continue with talk of whippets, flat caps and pipes, peppered with ‘by gums’ and ‘by ‘ecks’. That is until one of the characters shatters the fourth wall by pointing out the audience sitting in front of them. Thus the play starts to decend into unfamiliar territory. The characters discuss the existence of their creator, i.e the playwright himself. Growing ever more bold in their gestures towards their maker they dare to dream of a world outside the bed they woke up in. Even their dreams are clichés, dropped into their head by the writer, with talk of a house in the mountains by babbling brooks.

The dialogue descends into a sort of stream of consciousness ramble we might find in Joyce, about how they have come to exist and the basic differences between masculinity and feminity. This mirrors one of the woman’s first remarks at the beginning when she says that only a man could have created such a cruel existence. Here is when the play reaches it’s climax, a cruel twist at the end proves the woman right when they come to escape. One Act Play is an interesting piece, certainly nothing like I’ve seen before, used to deconstruct the form of the play, and would be particularly good as an exercise when learning about abnormal play structures. Praise should be heaped on the actors, Peter Edge-Partington and for me particularly Mary Farragher for keeping up the energy throughout the piece. If you want a thought provoking piece, this will definitely challenge your brain cells.

Madrababes - A review

Thu, 18 Apr 2013 18:42:35 +0100

A Review of Madrababes as part of Madam Renards Fringe

by Abby Sparrow

One of the main words that popped into my head when I first started watching Madrababes was, fun. A one act musical made up entirely of madrigals, a form of early music pop music. Please be advised to leave your serious hats at the door for an hour of entertaining quips and silliness, a story of 6 friends finding love through jokes and song. We meet John and Tom, two stylish elegant ‘men’ lamenting their lack of luck with their lady friends Phyllis and Philomela, could it possibly be because they are far more worried about what they’re wearing than displays of manliness?

The ladies are equally lamenting about the lack of decent men in the area when in walks Amyntas, a tall man with a real, not drawn on, beard and a deep voice. Naturally fighting ensues and much harmonised singing. There was some great vocal work from all performers particularly Stephanie Walsh, as Phyllis. The comic timing of Ellie Lawrence and Jessie Thompson as John and Tom almost stole the show had it not been for Annabelle Black as fair Oriana. Ever present scowling from behind her harp and stack of books only pausing to throw barbed insults, there was no doubt that her hatred towards the rest of the characters was sincere which meant all the more fun for the audience.

Great vocal arrangements and a wonderful cast make for a fun show which will lift the most miserable of spirits.

Oedipus - A review

Thu, 18 Apr 2013 18:39:24 +0100

A Review of Oedipus from Madam Renards Mini-Fringe

By Abby Sparrow

The first of Sophocles’ Theban trilogy, chronologically speaking, was first performed around 429BCE. Considered by most to be the best example of Greek tragedy still in existence, despite it’s age it still has the shock factor, and still feels in many ways, quite modern.

This was not my first production of Oedipus, having studied Classics, it was like slipping into a comfy jumper, literarily speaking. I think my only question about this performance was the choice of translation. The translation used was archaic, Shakespearean if you will, and I think it did the production a dis-service. There are some wonderful modern translations of Greek drama which make it much more accessible, I think for performers not used to a script peppered with thee, thine and thou, struggled a little bit.

There were however some excellent performances from the cast, particularly Julian Smith as Teiresias who gave a measured but stirring performance as the blind prophet and David Paris Malham added charisma to king in waiting, Creon. With regards to the ladies, Jodie Patchet gave an eerie otherworldly performance as unhinged Jocasta, and Alice Hazelewood made her mark in a smaller role as the messenger.

The staging for this production was simple and effective. The male cast members dressed in white vests, braces and dark trousers, the women, tarted up and sensual, and it suited the play rather well. Classical drama is not an easy sell and there were some good moments in this well directed production, the second half in particular. It will be interesting to see what some of these performers get up to next.

Enter Shikari - Live review

Tue, 16 Apr 2013 09:25:51 +0100

By Thom Belk

ENTER SHIKARI/ HACKTIVIST
CITY HALL SALISBURY 09/04/13

Enter Shikari became the second big name act to venture down to little old Salisbury in the space of just two weeks and the kids must have been busy doing chores around the house as it was a sell out.

After dodging the hordes of hyper and downright rude teenagers I made it in for Hacktivist having missed the first support act. These boys are definitely ones to watch.

Their brutal guitar breaks and flawless split rap vocals got the crowd nodding like Churchill the Dog, after tearing through the repertoire in a set that just didn’t seem long enough they took on the task of covering Jay Z &Kanye West’s “.. In Paris”. This was quite the treat and got an already excitable crowd nearly out of control before they took their deserved plaudits for a storming set.

Top marks for Hacktivist’s PR skills as almost as they were off stage they made it out to their Merch Stand.The foyer became a place of absolute bedlam in the interval as there were so many different queues I think people were queuing to queue.

The expectant crowd were kept waiting a little over the scheduled stage time for the headline act but were quickly compensated as Enter Shikari stormed into their set with “System”.

The auditorium was full of energy, the stunning light show perfectly complimented that. The set saw them visit their most recent album “A Flash of Flood of Colour” all the way back to the debut “Take to the Skies”.

Shikari’s song currently on Radio One’s playlist “Paddington Frisk” drew arguably one of their biggest reactions of the night.

Bassist Chris Batten seemed to sympathise with those getting bruised in the audience when he misjudged throwing his Guitar into the air and had to receive treatment momentarily.

“Mothership” was the last song of the set, the band took their bow before returning for a two song encore. They concluded with “Zzzonked”.

As the battered concert goers left there were girls applying frozen peas and guys with grazed knees. It was definitely a bloody good night.

Mini-Fringe “Nights” / “To Sleep” Double Bill - A review

Tue, 09 Apr 2013 16:26:23 +0100

By Rob Burbidge

The Vic, Swindon, 8 April

The performance rooms at the Vic in Old Town, by my reckoning an auditorium of around 40 seats facing a small raised stage, can only be described in theatrical terms as ‘intimate’. As such, it is well-suited to the Mini-Fringe’s double bill of the operatic ‘Nights’ and the short play ‘To Sleep’, both of which require close attention from an audience and which deal with very personal emotions.

The first piece, ‘Nights’, uses as its starting point the ancient Arabic tale of the bloodthirsty king who beds a different maiden each night before disposing of her the following day, and asks the question, ‘What if there are just two maiden sisters left?’ The audience need not question this, because from start to finish we are clearly in a story-book world, even though the characters tell us it happens ‘here, in this country’. Storytelling is a key part in the play and drives it forward, rather than brutal realism (It’s quite telling that the unseen King is explicitly given a ‘backstory’). Ria (Stephanie Walsh) and her younger sister Dee (Becky Smith) throw themselves into their parts with sustained enthusiasm through the two acts and keep in character throughout, with good singing and diction throughout, although a few of Dee’s spoken lines and actions were a little rushed. As the sole characters – with the possible exception of the supporting role of Ms. Walsh’s corset – they had plenty of chances to interact. A simple set, a chaise lounge and a screen with a few props, was enough to convey the story and the performers used the limited space well.

Keeping the King as a virtual presence keeps him a powerful, mysterious and amoral figure, and that’s probably wise: any attempt to portray him by a male actor would be liable to lapse into either comedy or brutality. On a point of direction, though, perhaps more could have been made of the King’s entrances and exits and the girls’ reactions.

Your reviewer is not a contemporary opera expert, hailing from a background in operetta and musical theatre, but found much to enjoy in the arias. The recitative sections, though very competently performed, were less to my taste. The score sets a pretty high technical standard, and the singers and the musicians (piano and woodwind) worked well together. I thought I detected the influence of Sondheim and a touch of English Folk music, nicely blended.

The libretto is functional, with just enough earthy dialogue to match the (offstage) activities of the King and Ria. In moving from a specific setting to a generic ‘neverwhere’, some of the poetry that one associates with the Arabian Nights is lost, and some of the rhyming couplets became predictable. The ending, highlighting the contrasting fates of the two women, was interesting and unexpected. For Ria’s sake, however, we hope the King will mend his ways and that she has not succumbed to Stockholm Syndrome.

It’s a shame that more use could not be made of the lights, but the nature of the venue does limit what you can do. There were a few dark spots at the front while the back of stage was well lit.

And so to ‘To Sleep’, with Hayley (Ellie Lawrence) and Martin (Peter Hyndes) as two very different characters whose only common attribute is that they are failed suicides. This is a real place, in the current time, with real people and difficult emotions. Both characters are trapped by the consequences of their past actions. Both actors are to be commended for tackling a difficult topic made doubly difficult by the difference in social background and ages. Hayley’s affected boredom and Martin’s anxiety were well-shown in the first few wordless minutes – sitting doing almost nothing is much harder than it looks. Likewise, when each character shows their physical injuries to the other, there is a genuine sense that the audience is intruding into something very personal. Martin’s reactions to Hayley’s advances and her very direct language were well-played.

There was a better use of lighting in this piece, with blackouts used effectively and, fortunately, the dark spots were avoided. Possibly because of the limited colour range on the front bar, which tended to be quite red in tone, the make-up on the physical injuries wasn’t quite as dramatic as it could be, and I’d like have seen more follow-through on how those injuries affected their movements. Similarly, given the amount of alcohol on display in the final minutes, neither actor spent much time drinking, possibly in order to push the dialogue. As Hayley says at the outset, there’s nothing wrong with a bit of silence.

An aggressively realistic setting is a little harsher than a fantasy setting when dealing with matters of plot, unfortunately. The genuinely touching ending was a little arbitrary: Martin’s final actions didn’t flow organically from the preceding dialogue. But putting that aside, it was a solid exploration of difficult subjects from two actors confident in their own abilities and, crucially, each others’.

I commend Madame Renards’ for all their work bringing these two shows to the Swindon stage and hope to see more of their work in future.

The Stranglers - Live Review

Tue, 09 Apr 2013 08:32:10 +0100

By Thom Belk

City Hall Salisbury - Tuesday March 26

City Hall Salisbury was packed to the rafters as many shunned the International Football disappointment England were offering ITV Viewers to roll back the years with a pre Easter feast of Punk.

Playing a twenty six strong set list covering all the albums The Stranglers defied their maturing years playing with much energy.

Their iconic keys laden Punk drew the receptive retro ward robed City Hall to a pogoing merry dance. As the set neared its halfway mark there began to pepper the set with their big hits, the unmistakable bass line for “Peaches” kicked in before the bouncing keys from Dave Greenfield led us into one of the UK Punk Scenes finest four minutes.

After an emphatic response from the crowd they launched into “Always The Sun”, this showing the band at are more softer and gentle side. Jim McCauley was on stick duties however veteran Jet Black was saved for a final ten song introduction, his arrival was for Genetix meaning we were treated to two drummers for the price of one.

Ending on “Straighten Up” Baz Warne led his band back to the stage to play out not one but two encores. “Something Better Change” and the quite fantastic “No More Heroes” got the whole place jumping.

They paused again momentarily before treating us to one last ditty that being the opener from their 1988 “Black/White” Album “Tank”.

This tour is called “Feel The Love” and on that performance I’m convinced all the audience and the band themselves went away with that feeling tonight.