Review by John Rawstron

Blancmange at Cambridge Junction: A Brilliant Blast of Electronic Nostalgia

There was something rather special about Blancmange appearing on the bill at Cambridge Junction. More special guest than conventional support act, Neil Arthur and Blancmange brought a set that felt far too substantial to be merely an opening performance. In fact, by the time they left the stage, they had firmly established their own identity and atmosphere, setting the bar impressively high for the evening.

At the heart of it all was Blancmange frontman Neil Arthur, now the principal touring presence behind the band. His distinctive, warm vocals sounded fantastic, while his charismatic and remarkably down-to-earth stage presence made the whole performance feel wonderfully genuine. Arthur has the rare ability to command a room without ever appearing to demand it.

There was even an unexpected comedy element to the evening when what appeared to be a malfunctioning microphone stand decided to develop a personality of its own. Rather than disrupting the performance, it simply became another part of the show, adding a spontaneous and wonderfully human moment to an otherwise tightly delivered set.

Musically, Blancmange struck a fantastic balance between 1980s nostalgia and contemporary electronic energy. The band tore through a selection of definitive favourites, including “Living On The Ceiling”, “Blind Vision” and “Waves”, each one instantly recognisable yet given plenty of life by the modern live arrangement.

One of the darker and more atmospheric highlights was their electronic interpretation of ABBA’s “The Day Before You Came”. It transformed the song into something haunting and hypnotic, demonstrating just how effectively Blancmange can take familiar material and reshape it through their own electronic aesthetic.

Then came one of the biggest surprises of the set: a cover of Depeche Mode’s “Just Can’t Get Enough”. It was a brilliant choice, fitting seamlessly into the set while also providing one of those moments that had the audience instantly recognising what was coming and embracing it.

Throughout the performance, modern live electronic elements combined with huge bass lines, driving synths and pulsating rhythms. 

The result was a sound that felt both unmistakably rooted in the 1980s and surprisingly fresh. This wasn’t simply a nostalgia trip; Blancmange demonstrated that electronic music from that era can still sound powerful, exciting and incredibly danceable when performed with the right energy.

By the end of the set, Cambridge Junction had been transformed into a pulsating retro dancefloor, with Blancmange proving themselves to be far more than a support act. It was an energetic, charismatic and thoroughly enjoyable performance, one that celebrated the band’s history without becoming trapped by it.

If this was merely the opening chapter of the evening, it was a very impressive one indeed. Blancmange didn’t just warm up the room; they owned it.

Tom Bailey at Cambridge Junction: A Glorious Celebration of Into the Gap  the Sound of the Thompson Twins

There are some gigs that feel like concerts, and then there are gigs that feel like stepping through a time machine. Tom Bailey’s performance at Cambridge Junction on Wednesday, 23 September 2026, was very much the latter.

As part of his Into the Gap 40th Anniversary UK Tour, the legendary Thompson Twins vocalist delivered a nostalgia-fuelled, hugely energetic celebration of one of the defining sounds of 1980s new wave and synth-pop. With synth-pop pioneers Blancmange setting the scene as the opening act, the evening quickly became a celebration of an era when enormous electronic hooks, shimmering keyboards and unforgettable choruses could turn an entire room into one giant singing voice and everyone in the Cambridge Junction was absolutely ready for it.

From the moment Bailey appeared on stage, there was a sense that this wasn’t simply an exercise in nostalgia. This was a performer completely immersed in the music, still visibly excited by the songs and, perhaps most importantly, by the musicians around him.

Backing Bailey was an all-female band featuring Meelie Traill on bass, keyboards and backing vocals, Charlotte Raven on keyboards, cello and vocals, and Paulina Szczepaniak on drums and vocals. One of the most striking things about Bailey throughout the performance was the sheer admiration he showed for his bandmates. He repeatedly positioned himself beside each member, watching, listening and absorbing every note they played as though the music was physically running through his veins, like he was a extremely proud older brother, it was a wonderful thing to witness.

Rather than simply standing at the front and allowing the band to provide the backdrop, Bailey seemed genuinely captivated by the musicianship happening around him. There was a feeling of mutual respect and musical enjoyment that gave the performance an extra dimension.

And vocally? Bailey sounded superb.

His voice retained the character and unmistakable tone that made the Thompson Twins so distinctive, but the performance was far from a museum piece. There was energy, movement and genuine excitement throughout the set. The carefully designed visuals complemented the music without overwhelming it, allowing the songs themselves to remain the stars of the evening.

The hits that defined a generation

Naturally, the biggest reaction came whenever those instantly recognisable Thompson Twins songs began.

“Doctor Doctor” and “You Take Me Up” produced the kind of crowd response that makes a venue feel considerably larger than it actually is. These weren’t passive listeners politely watching a favourite artist revisit the past, they were fans who knew every word, every beat and every cue.

Then came “Lies” and “Lay Your Hands On Me”, two more glorious reminders of just how powerful that combination of new-wave experimentation and pop songwriting could be.

There was something particularly satisfying about hearing these songs performed live in 2026. Their production may belong to another era, but the melodies, rhythms and hooks remain remarkably effective. The audience reaction made that abundantly clear.

A little bit of Science Fiction

The set wasn’t simply a greatest-hits trip through the Thompson Twins catalogue either. Bailey also incorporated material from his 2018 solo album Science Fiction, demonstrating that his musical journey didn’t end with the Thompson Twins.

These songs fitted naturally into the evening, giving the performance a broader sense of Bailey’s career rather than simply recreating the past.

But there was one surprise that genuinely caught me completely off guard.

“Psycho” — the surprise nobody saw coming

When I interviewed Tom Bailey a few weeks ago, he teased that there would be some surprises during the tour. I thought I had some idea of what he might mean, I didn’t !.

The unexpected arrival of the Talking Heads classic “Psycho Killer” — performed here simply as “Psycho” — was one of the night’s most inspired surprises. Hearing Bailey and the band take on such an iconic piece of art-rock history added another fascinating layer to an already packed evening.

It wasn’t simply a case of throwing in a familiar cover for the sake of it. The performance felt completely at home within the musical world Bailey had created that night, while simultaneously reminding us of the extraordinary breadth of influences surrounding the new-wave generation.

And that, ultimately, was what made this Cambridge Junction performance so enjoyable

And then came the encore…

If the main set was a celebration, the encore turned into something approaching communal musical euphoria.“Love on Your Side” and “Hold Me Now” were the perfect choices, and the response to them was extraordinary.

For “Hold Me Now” in particular, the audience seemed almost unable to wait for Bailey to begin. The chorus started rising from the crowd before he had even sung the opening vocal, transforming the venue into something resembling a giant 12-inch vinyl pressing brought spectacularly to life.

Bailey didn’t need to convince the audience to sing. 

They were already there, ready and waiting.

It was one of those moments when performer and audience become indistinguishable — hundred’s of voices, one enormous chorus, and a song that has somehow survived four decades without losing any of its emotional pull.

This wasn’t just a man revisiting songs from 40 years ago. It was an artist celebrating the music, the musicianship and the audience that helped those songs become part of the cultural fabric in the first place. Tom Bailey remains an engaging and energetic frontman, his voice sounding remarkably at home within these songs, while his obvious appreciation for his band added warmth and spontaneity to the performance.

With Blancmange opening the evening and Bailey subsequently taking the audience on a journey through Thompson Twins classics, solo material, unexpected covers and enormous sing-alongs, Cambridge Junction became a little slice of 1980s new-wave heaven for one unforgettable night.

Forty years after Into the Gap, the music still has the ability to make a room full of people sing at the top of their lungs, and judging by the reaction in Cambridge, nobody was remotely ready to let that gap become history just yet.

Interview With Tom Bailey

On the 28th August I was extremely honoured to Interview Tom Bailey to speak about the Thompson Twins and about his upcoming tour. Below is the interview in full.