Sparks

It's no mean feat to continue challenging yourself and your audience in the music industry, especially after 40 years, but that's exactly what Sparks have managed to do as they've discarded their band for their 'Two Hands, One Mouth Tour', leaving the Mael brothers alone onstage to reinterpret the songs that have earned them such a devoted fanbase.

After their new single, written especially to commemorate this tour, is played over the speakers an unnecessary (and frankly irritating) three times, there's a danger of losing the audience before they've even started; that is until Ron Mael awkwardly steps on stage, teasing excerpts from classic moments throughout their career, a sign that we're in for a crowd-pleasing set. His brother Russell then joins him for a rousing rendition of 'Hospitality On Parade', which sounds all the better for being stripped down, as demanded by their new set up. If anything, this naked version only serves to highlight the theatrical joy of the song, augmented by Russell's stunning falsetto, which unquestionably sounds better than ever before.

It doesn't always work perfectly though, 'At Home, At Work, At Play', is in particular lacking the punch that it does on record, but the triumphs shine brightest throughout the course of the evening. Stunning renditions of 'Sherlock Holmes' and 'My Baby's Taking Me Home' sound infinitely better than they do on record, revealing a heartwarming vulnerability previously masked by the eccentricity of the studio recordings. Despite mentioning plans for a film and show based on their last album, 'The Seduction of Ingmar Bergman', one can't help but hope that these new versions are eventually released on record sooner rather than later.

From the outset, the close bond between the two brothers is evident and part of what makes Sparks tick, even without a backing band to support them. Whilst Ron stiffly sits at his keyboard, Russell bounces about the stage like a young boy on a major sugar rush. Their opposing personas perfectly compliment each other, with both exuding a charming warmth and charisma, which endears them to the audience. And how the audience lap it up – particularly for 'Never Turn Your Back On Mother Earth' and the inevitable 'This Town Ain't Big Enough For Both Of Us', both of which are rapturously received, much to the evident delight of the brothers.

Before exiting for a euphoric encore which includes a ballsy 'Beat The Clock', featuring a hysteric bout of dad dancing from Ron, 'When Do I get To Sing My Way' is unveiled, ending a set of charming and baffling eccentricity on an emotive and plaintive high, in spite of the fact that Sparks have in fact always done things their way.

In times where we embrace rehashed and forced 'quirkiness' in pop music as something new and exciting, the truth is that Sparks stand as the true innovators and outsiders in pop music. After all this time, they remain brave, challenging and utterly bewildering. Long may it continue.

FUTURE GIGS

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