ABBA Voyage - ABBA Arena, London - 9th November 2025

I had heard so many people say how good the ABBA Voyage show was that I was intrigued. As my wife, unusually, expressed an interest as well, I bought us two tickets for an afternoon session

We made the trek to the Olympic Park from Waterloo station relatively easily and grabbed a burger and a beer before going in to the Arena.

Inside there were further food and drink and merchandise outlets, as well as toilets and complimentary cloakrooms.

Our particular event had been hijacked by Radio 2 and turned into a Children In Need benefit and Scott Mills was holding a DJ session in the pre-Arena area, which made it pretty crowded, but passed a few minutes before we dropped off our coats and headed into the Dance Floor area.

The venue has a fairly small floor level area and 3 seated areas behind. It's not a massive venue, but it's a good sized one.

As we went in an animation of a snowy forest was playing on mesh screens dropped down in front of us and this continued for around 45 minutes until an announcement that the event was about to begin.

Flashing vertical white lights heralded things and then the 4 virtual members of ABBA appeared (seemingly) from the floor of the stage.

The first two song, "The Visitors" and "Hole In Your Sole" were relatively obscure ones, I guess they work you in gently as you're still trying to work out what is happening on the 'stage' and how they are doing it.

Things definitely hit their stride with "SOS" and "Knowing Me, Knowing You" ("Ah ha!" as Alan Partridge would say), followed by the gentler, more melodic, but still familiar "Chiquitita" and "Fernando".

The performance makes clever use of lighting, huge, almost wrap around, screens, a live band and, of course, the "ABBAtars".

They are mostly the size you would expect to see people on a stage and, as such the detail isn't too clear. Once or twice I recall thinking the movements looked a little stiff (like computer game characters), but more often I marvelled at the natural little actions that I would have felt extremely difficult to replicate, a flick of the hair, a half turn, it was remarkable at times and a credit to the people who put this all together.

Photography and Videoing is forbidden on pain of expulsion, so here's an approved video about ABBA Voyage to give a taste of it

Throughout, too, the ABBAtars were projected in large scale onto screens either side of the stage and, now and then looked a little CGI'd, but at times the detail was so good that I feel convinced that some of the content must have been based upon high quality film footage from the 70s and 80s.

However it was done, it was very impressive and it was hard at times not to feel you were watching people perform live in front of you.

The band were good, getting a turn to perform when they performed most of Does Your Mother Know without the ABBAtars.

They were absent too, for a couple of songs, when an animation of an Aztec-looking person took on a fantasy journey to a castle where the images of the band members were hewn in rock. It was different and a reminder that you weren't at a live concert, but an audio-visual show.

The lighting played a big part in this.

At one point lines of dotted lights showed on the 'stage' over and behind the ABBAtars, while rods of lights descended over the audience, echoing the lights on stage and giving the impression of an extension of one place. One another song, beams of red lights over the dance floor area did likewise.

The song that started it all, "Waterloo" was shown in the form of archive film footage, projected on the mesh screens ahead of the stage again.

That said, it was genuinely quite hard not to react, in the most part, as if you were seeing and hearing live performers on the stage.

All 4 ABBAtars had a little chat with the audience and they even appeared as they do now briefly at the end to thank us for coming.

The main 'set' ended with "Dancing Queen" and then they were quickly 'back' for an encore featuring "The Winner Takes It All" (probably my favourite ABBA song, they do melancholy very well I think).

We left, both very happy we'd come along.

However, on the way home we agreed there seemed little point going again. It's not a live gig, the next time will be the same.

It is, though, a great technical feat and an enjoyable experience - Go and see it, even if you're not an ABBA fan, there is plenty to enjoy!

Setlist:
The Visitors
Hole in Your Soul
SOS
Knowing Me, Knowing You
Chiquitita
Fernando
Mamma Mia
Does Your Mother Know
Take a Chance on Me
Eagle
Gimme! Gimme! Gimme! (A Man After Midnight)
Voulez-vous
Don’t Shut Me Down
I Still Have Faith in You
Waterloo
Thank You for the Music
Money, Money, Money
Dancing Queen
Encore:
The Winner Takes It All

Dub Pistols - West End Centre, Aldershot - 24th October 2025

Sometimes I take a bit of a speculative punt on an act; this was one such occasion.

I knew the name "Dub Pistols", but next to nothing about them, but having no acts to see in October and them appearing at the West End Centre, very close to my home, I decided to take a gamble after listening to a few of their tracks online.

Even from those, though, I realised I was either going to really enjoy the evening or, possibly, hate it.

There was no support, not a bad thing often, and the band (6 mostly middle aged men) ambled onto the stage about on time.

I can't find a setlist anywhere, so I can't really tell you what they performed, although I do recall "West End Story", "Real Gangster", "Running From The Thoughts", "Mucky Weekend", possibly "Rub A Dub" and "Pistoleros" and a few covers "I Predict A Riot", "Peaches" and "Gangsters", which (for me) were the highlights.

On the positive side, they're a very energetic act and there were plenty of people having a great time there, clearly familiar with the songs and the band.

To me, though, the tracks soon began to sound very alike, but I was happy to move along with the groove and the dubbing by the MC, which was pretty good, I have to say.

Barry, the lead man, suggested we all go to the bar for a drink after about an hour and most people did (Some seemingly didn't come back!), which seemed to surprise the band who I think expected a cry for an encore "That's never happened to us before! It's an encore, not an interval", the MC told us, somewhat bemused!

I moved back a bit for the second part and the sound was actually better there, but I was starting to get a headache (I'm pretty sure there were some substances being smoked around me, too, which didn't help), so, although I did enjoy the rendition of "Gangsters", I was out of the door when the set finished.

All told, I certainly didn't hate "Dub Pistols", they put on a lively show, but they're not really 'my thing' and I don't imagine I'd go and see them again.

Setlist:
If I find one, I'll add it.

Nerina Pallot - Fiery Bird, Woking - 28th September 2025

I'd seen Nerina Pallot before at The Boiler Room and been impressed with her variety of songs, her voice and her easy going manner.

That had been with a small band, but when I saw she was playing at a venue in Woking that I'd never heard of, I decided I'd go and see her again.

The venue turned out to be part of a disused office building (Someone said it was once KFC's regional HQ) and felt a lot like the venue I'd been to in Bracknell to see the Police 3.0 a few months earlier - A big room with a very low stage and a bar area.

I spoke to a friendly man at the 'merch' stand and bought a copy of her covers CD, made up of songs from artists from towns on this tour (disappointingly, she decided against my suggestion of covering A Town Called Malice, but did cover a Paul Weller song).

Disappointingly, for me, I discovered the venue was all seated. I like to move around a bit at gigs (My wife would definitely discourage me from calling it dancing) and being stuck in a hard plastic chair isn't my idea of a good gig, but it was what it was and I found a seat near the front, so I'd have a good view.

The tickets said 7:00PM start (on a Sunday evening), so I assumed Nerina probably wouldn't be on stage until 8:00, so I don't think I was alone in being a little surprised when she appeared at 7:15! Good job I got there early!

Nerina was alone on the stage, with an electronic piano and a couple of guitars and started with a couple of song on an electric guitar, before moving to the keyboard.

Singing unaccompanied by a band, I was even more struck by how good Nerina's voice is.

She has a clarity and a great range.

Another thing I've always liked about her is the variety of her songs, she's not just a ballard singer or a 'rock chick', she even had a 'Randy Newman'esque song (written in a hurry for an advert, she tells us, because "Randy Newman was too expensive!") in You and Me (The Dog Song), laughing that people have said they had this played at their wedding, which made her wonder what they were trying to say...

As in Guildford (where she chatted so much, she was told to hurry up to finish the set), she chatted amiably with the audience, even eliciting some 'news' from the audience (One woman was there alone on her husband's birthday because he 'hates live music' and someone announced the arrival of a nephew).

Before she played "Everybody's Gone To War" she quipped, "I'll play my one hit now and then normal service will be resumed".

At one point, she called the friendly man from the Merch stand up on stage.

He turning out to be her husband who, she told us, has more stage fright than her (despite being an accomplished keyboard player, it transpired) and he accompanied her on Wild Wood, her 'local act' cover for the evening.

There was a brief interlude mid set, while the audience got drinks and Nerina had a costume change, I see this more and more, maybe the audiences at gigs I go to need a pee break mid way!

She ended the set and then returned mere moments later to give us her cover of Love Will Tear Us Apart - Usually I hate covers of that song (Paul Young's emotionless dirge being the worst offender), but Nerina's arrangement is very different, while retaining all the emotion and despair of the original.

If I'm honest, I prefered her gig at the Boiler Room, with the bigger sound of a band and being able to stand up for the performance gave the gig a more energetic, less passive feel, but perhaps that's just a personal preference. I'd have liked to have heard "Alice At The Beach", too, the song that introduced her to me, but as you can see, she covered a lot of her back catalogue and I suspect a lot of those there found her through her earlier material.

If nothing else I discovered two albums from her I'd not heard, "Into The Light of a Dark Black Night" (the covers album) and "A Psalm For Emily Salvi" (released in 2024 and somehow I'd not realised there was a whole album).

Overall, though, another very enjoyable performance by Nerina - She's performing at the Royal Albert Hall next May and I'm still toying with the idea of going, much as I dislike the hassle of going to central London for gigs these days.

Setlist:
These are songs I recall from the gig, the order is definitely wrong, except the encore
Everybody's Gone to War
Put Your Hands Up
Sofia
You and Me (The Dog Song)
Wild Wood (Paul Weller cover)
Idaho
Real Late Starter
The Right Side (Not 100% sure about this one.)
Geek Love
Learning to Breathe
I Don’t Know What I’m Doing
The Heart Is A Lonely Hunter
Bring Him Fire
It Starts
Damascus
Daphne and Apollo
Encore:
Love Will Tear Us Apart (Joy Division cover)

Siouxsie & The Budgiees and The Cureheads - Boiler Room, Guildford - 1st August 2025

I used to be snooty about tribute bands, but I've come to recognise that they can be a lot of fun and, even where the original acts from 40 years ago are still touring, sometimes better than the real thing!

So, it was that I bought a (modestly priced, another advantage!) ticket to see two tribute bands (which turned out to be a little less than two, more in a bit) at the Boiler Room in Guildford.

The bands were "Siouxsie and the Budgiees" and "The Cureheads" (tributes to the Banshees and Cure, respectively.

When I arrived at the Boiler Room, I was a little surprised to see a notice saying the event was sold out, but there seemed to be a lot of students in town and it was a Friday evening. Inside, though there were few people at 7:40, so I wandered into the garden and waited for a while.

I came back in a little before 8 and bought myself a pint of Guiness (at an eye-watering £8 - I know it helps support the venue, but bloody hell, that's expensive!) and found myself at the front of the crowd in the still quite empty venue.

Around 8, the band appeared. A couple of middle aged blokes (Phil and Nigel) on guitar and bass, a young drummer (whose name I didn't catch) and a woman, Ceri (probably of similar age to the guitarists, but it was hard to be sure in all the makeup and the wig - She went for an early Siouxsie look!).

They started with Israel, a hit, of course, and mostly played well know Banshee's songs, the musical sound was spot on, sounding exactly as they were played in period, but for me, Ceri's voice just missed sounding right. She can certainly sing, but she didn't sound like Siouxsie to me.

That said, it's hard to replicate a distinctive vocal sound and the songs were great to listen to (the sound was excellent, ever word was audible in the mix, which is rarely the case even for supposedly top flight acts) and everyone was undoubtedly having a good time, despite the heat, me included.

I can't recall the full setlist (and am yet to find one even for another recent gig), but they played Happy House, Christine, Arabian Knights, Wheels On Fire, Hong Kong Garden and other hits, all of which received loud applause and rightly so.

There wasn't an encore (I noticed "Dear Prudence" at the bottom of the setlist on the stage floor, so I guess they ran out of time - There was a bit of a delay with a drum kit malfunction), but after a break, about 9:15, the guitarist, drummer and bassist from the Budgiees appeared! Clearly, there was a degree (!) of overlap in these two bands.

For a while, I wondered if (in all the Robert Smith makeup), we might have Ceri back, but it was a different singer, Rabbit Schmidt (according to Wikipedia!).

I'd been impressed with the band's accuracy of Banshees sound, so it was great to hear that they sounded just as accurate playing The Cure tracks.

Of course, for talented musicians, the difficult bit of being a tribute band is getting the vocal sound to sound like the original and they definitely did this better than Ceri had managed, at least to my ears.

I have to be honest and say that I'm not a hardcore Cure fan and there were a lot of songs I didn't recognise at all, but they were (mostly) enjoyable and all performed excellently. The singer did quip a few times that if you'd come with a 'mad Cure fan', you'd recognise the next song.

The ones I was more familiar with included Lullaby, In Between Days, Just Like Heaven, Let's Go to Bed and the twon in the encore, Friday I'm In Love and Boys Don't Cry.

The familiar songs were great and sounded very much like the originals to me, allowing for them being played live.

Overall, it had been a great night. Both bands (or versions of the band) were excellent musicians and they performed the tracks with skill and energy, rewarded by a packed house of enthusiastic gig-goers of very mixed ages (some were around when these bands were the new kids on the block, but some, like 3 probably teenage girls in goth getup in front of me, were definitely not even a twinkle in their parent's eyes in the early 1980s).

It was very hot (not quite as bad as when I'd seen The Beat a couple of years before, but I don't think I'd sweated as much since then!), but I'd only ventured away from the front of the packed crowd after the Cureheads main set finished and went home very happy with my night out.

A great night out for anyone who likes Siouxsie and the Banshees or The Cure.

Setlist:
Siouxsie and the Budgiees
TBC

The Cureheads - From another gig, but close
Plainsong
Pictures of You
Play For Today
A Strange Day
Torture
A Night Like This
Push
Lullaby
The Walk
Let's Go to Bed
Last Dance
Kyoto Song
In Between Days
Just Like Heaven
A Forest
Encore:
Friday I'm in Love
Boys Don't Cry

St Vincent - O2 Academy, Bournemouth - 30th June 2025

St Vincent (or more accurately Annie Clark) is not a woman who you can easily categorise - You never know what she will do next.

With every album there's a new style/image and sometimes the shift is quite dramatic.

I'd seen her before, on the Daddy's Home tour, where the style was quite 70s and mellow.

They had been at Glastonbury the day before this gig, so I had an idea that this was going to be a hard-rock St Vincent and so it proved to be.

I arrived just before 8 to see one of two support acts just finishing, but I saw so little of their performance I can't really comment on it.

About 8:30, the expected support act, Cult oF Venus, arrived. This is just one woman with a flowing grey gown (a bit like a wraith!), long blonde hair and a box of electrics (which reminded me of the support act for Nouvelle Vague) although she also had an electric guitar.

Her sound was predominantly electronic and she was quite enjoyable, albeit rather etherial and the vocals were a bit lost in the mix (a near universal flaw with support acts!).

Some of the songs were quite melodic and she seemed to have a great voice, but then she'd tweak something on the box and there would be a discordant jar in the music - Odd, but interesting.

She got a good reception and deserved the loud applause when she finished.

We then had a prolonged wait for St Vincent, to the point at which people started slow clapping and whistling no doubt prompted by the fact that it was getting very hot in the venue, despite effective air con, but when the band did appear, at 9:30, that was quickly forgotten.

The tour was in support of the most recent album, All Born Screaming, so obviously we got a number of tracks from that, including the opener, Reckless.

This set the tone, Annie, wearing a grey jacket and shorts, over tights, with shoulder length black hair (rather than the odd blonde wig(?) of the previous tour) and her guitarist played with lots of thrashing and distortion, not heavy metal, but certainly on the loud end of rock.

"Fear the Future" (From her 'Masseduction' album) followed and then, possibly her best known song, "Los Ageless" (a great song and undoubtedly my favourite of hers) from the same album.

The stage looked bigger than I recall it from previous (many) visits to 'The Academy' (it was a nightclub of that name in my late teens/early twenties, so I've known it for many years), with a drummer to the rear right and a keyboardist to the left, and the guitarist and bass guitarist flanking Annie.

We then got another track from the latest album, "Broken Man" and then "Dilettante" during which she forgot to the lyrics and sang/spoke them for a verse, before the band joined in again for the rest of the song.

Another old favourite, "Birth in Reverse" and then "Pay Your Way in Pain", followed by "Flea" and "Big Time Nothing" from the latest album, sandwiching "Cheerleader".

At some point, I forget exactly when, Annie attempted to crowdsurf over the audience, but it seemed those in the front misunderstood her intention and they let her crash to the floor! She seemed ok, although jokingly pretended to have injured her back later on ("At least you have the NHS here").

She seemed pretty relaxed and convivial between tracks, probably talking more than most would have liked (perhaps we could have had another song or two), but it did make her seem a likeable performer, although in one manic moment, she hurled a cymbal stand from the drumkit into the crowd (this was more deftly handled than her, though, being caught by a couple of people before it could make substantial contact), so perhaps she was still a bit miffed about them dropping her!

"Marrow" from an earlier album, "Actor" followed and then "Violent Times" from the new album, which was a bit of a variation in tempo from the rest of the gig and excellent.

Another popular track, "New York" followed and then we had "Sugarboy" and a dramatic finale rendition of "All Born Screaming", the title track from the tour album.

By now we were close to the 11 O'clock curfew, but they came back for one more song, a stripped back "Candy Darling", demonstrating Annie's excellent singing voice after the loud and brash performance of most of the gig, although it had been apparent on some tracks.

Overall, the gig was, I expected, totally different to the last time I saw them. Noisy, thrashy, distorted guitars, even on the older tracks, but it was exciting and energy packed.

As on my first visit to see her, I'd worried that I may not like the performance after the Glastonbury coverage, but again, live, in a small venue, they were great and I'd happily go and see her a third time, if only to see the direction she takes next.

Definitely an imaginative, talented, artistic performer, but one who can put on a show that leaves you energised, entertained and excited.

Brilliant stuff from her and the band.

#stvincent

Setlist:
Reckless
Fear the Future
Los Ageless
Broken Man
Dilettante(Forgot lyrics of second verse)
Birth in Reverse
Pay Your Way in Pain
Flea
Cheerleader
Big Time Nothing
Marrow
Violent Times
New York
Sugarboy
All Born Screaming
Encore:
Candy Darling

The Police 3.0 - Acoustic Couch, Bracknell - 27th June 2025

Once upon a time, I was a huge Police fan.

I never really stopped liking them (and enjoyed Sting's solo stuff in the main), but somehow they dropped off my musical radar for a long while.

Recently, though, I spotted that a Police (and Sting) tribute band were playing in a venue near me, one I'd not been to before. The price was right, so I went along.

I hadn't been to Bracknell for decades, even though it is only about 15 miles from my home and I used to work there for many years - It was pretty unrecognisable to me and I had to use Google Maps to navigate the extensive shopping centre to reach what claimed to be the location of the venue.

All I could see was a very non-descript door, that looked like the outside of a fire exit from a shop or access to a machinery room, but a man standing outside asked if I was looking for the music venue and pointed at the door when I said I was.

Inside the venue is very basic, a large stage area at floor level dominates one end of the room, with a dance floor in front of it and seats and tables (some upturned cable drums) are around it. On the left, as you look at the stage, there was a reasonably large bar area, with very reasonably priced beer (£4 for a pint bottle of Doombar).

I'd arrived about 8:15, so had a half hour wait for the band to appear. I was stood by a pillar and didn't notice, but behind me the venue had filled up reasonably well, with probably 100-150 people by the time the 3 band members made their way onto the stage.

Thankfully (in my view), the 3 men make no effort to pretend to be 'The Police', just concentrating on playing the music.

I'm not a musically trained person, but the tunes sounded pretty decently played. The vocals were a little mixed, though, some sounding very Sting-like, others much less so.

I think 'mixed' is a good summation of the performance, some tracks (especially the more energetic, older ones) captured the spirit and energy of the originals while a few missed the mark.

They started with a Sting solo song, "If I Ever Lose my Faith in You" and then followed it with the Police hit "Message in a Bottle", which got a loud applause.

Most of the songs were singles (the gig was advertised as "The greatest hits of The Police and Sting", so fair enough) and of course, everyone knew them.

Some songs, "Walking on the Moon", "An Englishman in New York" (possibly the highlight for me), "Roxanne", "Wrapped Around Your Finger" and "De Do Do" (a song I never liked) were really well performed and got a fantastic response.

I also particularly liked "King Of Pain".

A couple of songs fell a bit short, for me "Fields of Gold" and "Don't Stand So Close" particularly, but overall the songs were well performed and captured the energy well.

The sound wasn't great where I stood. Whether I picked a poor spot, they'd not done a great soundcheck or the venue's solid concrete walls, floors and ceilings don't help, I can't say. It wasn't so bad that the tunes weren't easily recognised, but the vocals were sometimes lost and some harsher notes seemed to dominate on some songs.

The band, though, were likeable and the gig had a very 'feel-good' atmosphere, with people clearly enjoying themselves.

The crowd wanted more and they came back for a last song "Next To You".

For a modest outlay, the Police 3.0 are well worth going along to see if you like the Police and/or Sting and I will keep an eye on the venue's website for future gigs.

Setlist:
If I Ever Lose My Faith In You
Message In A Bottle
Synchronicity II
Every Little Thing She Does Is Magic
(Spirits in the Material World)
Walking On The Moon
It’s Probably Me
Can't Stand Losing You
De Do Do Do, De Da Da Da
Don't Stand So Close to Me
So Lonely
King of Pain
Driven to Tears
Wrapped Around Your Finger
Seven Days
Fields Of Gold
Every Breath You Take
Englishman In New York
Roxanne
Bring On The Night
ENCORE
Next To You
Setlist Courtesy of Police 3.0

Johnny Marr - 1865, Southampton - 19th June 2025

I can't pretend I was ever a great Smiths fan in period - I found Morrisey a bit of a tit (waving his gladiolis around, his fake hearing aid and his droning voice) and time has only soured me on him further, but I have come to appreciate Johnny Marr's contribution to the sound of the Smiths and also to Electronic, the New Order/Smiths spin off, and so it was that I found myself back at 1865 less than a week after seeing Heaven 17 there

Like Heaven 17, there was no support and I think this, too, was a pre-Festival season 'test' gig.

The schedule said the band would be on stage at 8, but it was about 8:15 (not too bad) before the 4 musicians appeared.

I'm guessing Johnny Marr dyes his black hair these days, but he still looks trim and fit.

I didn't expect to recognise many of the songs, having scanned back through previous setlists and never, to my knowledge, having heard any solo material.

That didn't really matter, though, as the songs performed where energetic rock performed with vigour and instantly catchy.

He started with a solo track "Generate! Generate!" and then a less well known Smiths track, "Stop Me If You Think You've Heard This One Before" before some more solo material including a couple of new songs, which sounded good and fitted the set well.

He then said "I'm going to play another new one" and we got the opening chords of "This Charming Man" to a roar of appreciation from the crowd, who I suspect were mostly Smiths fans, although quite a few obviously knew many of the solo tracks.

The set continued with a mix of solo and Smiths' tracks, all being greeted enthusiastically, but the latter far more so.

The sound, if I'm honest, wasn't the best, certainly not as clear as Heaven 17 had been the previous week and very loud (writing this the following morning, my ears are still ringing and muffled), which probably didn't help. I was probably about 6 or 7 rows back, further than I'd been at Heaven 17.

That said, the overall effect was energy packed and feel-good and all the songs were well performed and fitted together well. Overall, it was a 'rockier' set than I'd expected, but certainly enjoyable.

The set ended on "How Soon Is Now?" and "Getting Away With It" (the only Electronic song, which was a bit of a disappointment for me).

Obviously, we had the charade of them leaving the stage, although I'm sure a drink was needed, the venue's air conditioning was doing a good job on a very hot evening, but even so it was sticky in the audience and I'm sure not much better on stage.

The first song of the encore was an excellent cover of Iggy Pop's "The Passenger" and then he rounded out with The Smiths' hit "There Is a Light That Never Goes Out".

Marr commented a few times that this was the first gig in a while, but it didn't really show in any rustiness (perhaps it was apparent in the energy?) and I definitely left feeling glad I'd come along to see an artist who I may well not have considered before.

Most of the audience, though, were diehard fans and probably would have cheered as loudly if the gig had been awful.

Setlist:
Generate! Generate!
Stop Me If You Think You've Heard This One Before (The Smiths song)
Armatopia
Hi Hello
Spirit Power and Soul
Bring On the Noise (Live Debut)
How Come (Live Debut)
This Charming Man (The Smiths song)
Somewhere
Please, Please, Please Let Me Get What I Want (The Smiths song)
Down on the Corner (Johnny Marr + The Healers song)
Panic(The Smiths song)
Walk Into the Sea
Bigmouth Strikes Again (The Smiths song)
Easy Money
How Soon Is Now? (The Smiths song)
Getting Away With It (Electronic song)
Encore:
The Passenger (Iggy Pop cover)
There Is a Light That Never Goes Out (The Smiths song)
#JohnnyMarr #TheSmiths #electronictheband #NewOrder