TVD Live: Erasure at 9:30 Club, 9/6

New wave pioneer Andy Bell of Erasure stepped onto the stage at 9:30 Club last Tuesday (9/6) wearing a glorious black Spartan-like helmet complete with mohawk, and a sequined blazer, and launched into “Sono Luminus.” His musical conspirator of twenty-six years, stoic synth-pop god Vince Clarke, wore a red fedora and matching sequined blazer as he stood behind a massive gargoyle that had been erected on stage. This is when things started looking up.

I had been having a shit day. I had slept very badly the night before, still on Labor Day Weekend schedule, and then worked for thirteen hours and thus been delayed, sadly missing opener and producer of Erasure’s new album Tomorrow’s World (released October 4th), Frankmusik.

My photographer had had an even worse day, and was not able to make the show last minute because of car troubles. We had been excited for this show for months; I had squealed and had put my The Innocents LP on repeat when it was announced. No pics for Erasure?! It was a nightmare. It was dreary and rainy outside. I was alone in a sea of gorgeous men… but they were all gay. I love men, but I am not one.

I thought I was going to cry into my vodka. Then something magical happened… The sea of beautiful men started singing along to “Always.” I had grabbed my vodka and my pen and had managed to squeeze my way up front, next to the bouncer, in the lone pocket of space by the stage. Dave Barnhouser of 13th Hour Photography let me know that he could photograph the next night’s show, if I could arrange for it. (And thus, all of these lovely photos are from Wednesday’s show, not Tuesday’s.)

This was now the best day, ever.

There are some who think that audiences shouldn’t be mentioned in a live show review. Well, fuck them. When the audience joins with the musicians for a moment that touches your soul (hello, melodrama!) and changes the course of your entire day, I believe it deserves mentioning.

The beautiful men continued singing along as Bell and his duo of voluptuous red-sequined-bustiered backup singers, with matching feather mohawks, appropriately broke into “When I Start (to Break It All Down),” (notice my pun there) the new single from Tomorrow’s World, whose supremacy is confirmed by the fact that everyone knew its lyrics already despite it only hitting the public consciousness a few weeks prior, when first played on BBC Radio 2.

Then Bell then took off his blazer and began dancing before “Blue Savannah,” revealing a black vest with a lace-up back and the biceps of a twenty-two-year-old; I could not help but think that this man has made a deal with the Devil. He later remarked that he noticed that most of the audience was very young, in their early twenties, and might not know 1984’s “Push Me Shove Me.” Well, he gives any of those young boys a run for their money. Not only does he have the body of a someone half his age, but the voice of one, too.

What I mean by this, is that you often expect that after well over two decades on the road, that a band will sound… well, like they’ve spent well over two decades on the road, living the hard liquor-fueled lifestyle that accompanies it, degrading vocals and everything else in general. Bell’s vocals were practically flawless that night.

I have previewed the new album, and “A Whole Lotta Love Run Riot,” played later in the show, is actually my favorite track on it, an electronic explosion of beats that defies you not to dance. After hearing Bell sing it live, I realized that the heavy auto-tuning on the song is actually a great disservice; it’s still my favorite, but it will never compare to being there amongst the Bell-inspired frenzied gyrations of the crowd.

Of course, the performance included the best songs of the past twenty-six years, along with (in my delighted opinion regarding the selection) the best from the new album, such as “Fill Us With Fire” from Tomorrow’s World and usual suspects “Ship of Fools” and an acoustic “Alien” featuring Bell and Clarke languidly sitting on steps next to the giant gargoyle. During “Breathe,” Clarke took off Bell’s vest (YOW! body of twenty-two-year-old confirmed), and he changed into a sequined Devo shirt; the “best day ever” was somehow even better.

After “Chains of Love,” I declared that I could now die happy, and after “A Little Respect,” I wonder what they could possibly deliver during the encore. After Bell bowed, and he, Clarke, and the voluptuous bustiered backup singers all left the stage, we waited impatiently and expectantly for them to return. They greeted us with a singalong gay anthem of epic proportions, “Oh L’Amour,” followed appropriately by the closer, “Stop!”

I later learned that Erasure had played identical sets in almost all of the North American cities. Well, it works. (Spoiler for all of you going to shows in upcoming cities on the tour.) The songs were the perfect mix of old and new, the familiar and beloved followed by the fresh and soon-to-be beloved, proving that Erasure, after all these years, is still relevant, still dynamic and inspiring.

Collectively, the gorgeous sea of men gleefully and excitedly gushed over the show as they walked out. News of how utterly fantastic Tuesday’s performance was, must have spread by the following night, because while Tuesday night had been very crowded, tickets were still available at the door; Wednesday night sold out.

Tomorrow’s World is not hindered by the “Chains of Love” from yesteryear; it’s broken free of that. Today, “A Whole Lotta Love Run Riot.”

Best. Day. Ever.

Set List

Sono Luminus
Always
When I Start To (Break It All Down)
Blue Savannah
Fill Us With Fire
Drama
You’ve Got To Save Me Right Now
Ship of Fools
Chorus
Breathe
Victim of Love
Alien (acoustic)
Push Me Shove Me
Love To Hate You
I Lose Myself
A Whole Lotta Love Run Riot
Breath of Life
Chains of Love
Sometimes
A Little Respect