Tears For Fears: Wembley Arena, London

WOTCHA, MY name’s Dave. Usually I enjoy my work as a tout, but tonight’s Tears For Fears gig at the Arena is looking decidedly untasty. Here I am stuck with a wad of prime seat £15 tickets and no bastard is interested. One tart had the cheek to offer me a fiver. I said, okay, but would she throw in a blow-job too? She didn’t even smile. Bleedin’ lesbians, they’re everywhere these days ain’t they?

Eventually I went in. Some black tart was making a diabolical racket on a piano and the two geezers who front the band spent the first number ‘I Believe’, slumped cross-legged in the wings. The audience loved it, most of them had their gobs wide open throughout the show.

It was busy too. Sales reps, law students, young professionals, ’60s revivalists — no wonder I couldn’t shift any tickets. Scum like this buy their tickets weeks before the event. Even their tarts are the type that worry endlessly whether their skirts are too short for the office.

Mind you, I didn’t let them spoil it for me. These Tears For Fears geezers aren’t bad. Okay, when you look at them you can’t help but suspect that Dylan from The Magic Roundabout spent time between takes getting to know Florence, if you get my drift, but they’ve got some thumping good tunes. Like ‘Change’, ‘Shout’, Pale Shelter’, ‘Everybody Wants To Rule The World’ and ‘Mad World’ which has that ace line “The dreams in which I’m dying are the best I’ve ever had”. Dead deep that. A real knicker-dropper at student parties.

The new stuff is a bit derivative. At times I could clearly imagine Curt and Roly strolling across a certain zebra crossing sporting ZZ Top beards. But that’s my fault, too much acid at the McCartney dates.

My only real complaint was them letting that black chick do a Gospel solo. OK, she’s got an ace voice but her skirt was ludicrously long. The best bit was when Roly introduced ‘Woman In Chains’ dedicating it to all the chicks in the world. Good on yer, you dirty old sort, I’m partial to a bit of bondage myself.

© Barbara EllenNew Musical Express, 24 March 1990

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