But they’re certainly buying them, with the Olympia booked solid for the night. She strives to continue to be an artist, to develop, to grow, to give people who go to her gigs a new experience, whether that’s what they’re buying their ticket for or not. The kind that shamelessly belt out the hits, only asking for a bit of light-hearted bopping and singing along in return. Moyet has, shall we say–upset–some fans for refusing to be an 80s nostalgia act. The only thing we were gearing up to expect was the unexpected. But no, you’re not getting off that easily. Moyet would be forgiven for passing off her former glories as karaoke worth paying for in present day Olympia.
It was such a day, that you could live it and be pretty satisfied if life were to just end then and there. Moyet may have outgrown the ‘80s but on her current form it’s a pleasure to be reminded of the decade that taste forgot.Alison Moyet at the Olympia on October 2 2013Īlison Moyet has certainly had her day, but what a day it was. It would be easy for Moyet to become a caricature of herself, churning out ‘80s hits, but as she explained that would say that middle-aged women can’t be creative. Of the reworked hits, many were unrecognisable: Is This Love was transformed from a bright chiming pop song to a melancholic ballad Only You, the song that first made her famous, was rearranged in a minor key drawing the focus to her amazing vocals. Bringing the set back to the present with her most recent single When I Was Your Girl, the slimline Moyet, dressed in black trousers and shirt and flanked by her musical director John Gardner and Sean McGee on synths, nattered to the audience explaining the ideas behind some of the songs. Having opened the set with Horizon Flame, the ominously dark, electro first track from her new album, Moyet turned the clock back 30 years to Nobody’s Diary, a song written when she was 16. Without Moyet it’s hard to imagine there would have been an Adele or Amy Winehouse. However, it set the scene for a show that marked a return to her electro roots, the style of music that first made her famous as part of the duo Yazoo, the band which blazed a trail for British electro pop long before Goldfrapp.Īny initial disappointment among the almost sell-out audience, soon melted away when Moyet opened her mouth and reminded fans that although her styles have changed through the last three decades her voice remains constant: rich and effortless.
Maybe she felt such a blunt explanation was necessary after some disgruntled fans walked out of concerts earlier in the tour. So no Love Letters or That Old Devil Called Love.
Right from the start Moyet made her apologies by explaining : “This is The Minutes tour with songs from The Minutes album and some songs from the last 30 years which have been rearranged to fit in with The Minutes tour. Anyone going to along to Alison Moyet’s The Minutes tour expecting a full-blown trip through ‘80s and ‘90s nostalgia, when she was Britain’s biggest-selling female artist, might have left disappointed.īut for those people who accept that Moyet is still an artist creating music as commercial and relevant as she did in her 20s, were rewarded with this performance.
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