Martin McAloon – Artisan Tap, Stoke – Saturday 18th October

Anniversary tours are a big thing these days. They’re either a wonderful opportunity to revisit the musical joy of one’s younger years or an unpleasant reminder that we’re getting on a bit, especially when we’re reminded that 40 years have passed since the release of albums such as Howard Jones’ Dream Into Action, ABC’s Lexicon of Love, Nik Kershaw‘s Human Racing, Ultravox’s Vienna, Level 42’s World Machine or Prefab Sprout’s Steve McQueen. As many years have passed between the end of the Second World War and 1985 as from 1985 to today. A stark reminder of the advancing years, as if looking in the mirror wasn’t enough.

Creative Genius

Whilst it’s wonderful to drag out the old CD collection and take an auditory trip down memory lane, there’s nothing quite like seeing your favourite bands recreate the original. It’s just like being back in those excitingly sweaty live music clubs of yesteryear, but with craft ales and comfortable chairs and without the sweat. And preferably home in time for cocoa.

What happens when it’s no longer possible for a band to get back together for such a celebration? There are two possibilities. Either someone else grabs the baton, or whoever can rise to the occasion steps up in front of a microphone. It turns out that Prefab Sprout is such a beloved band and Steve McQueen such an important album that both have happened. First, the group of musicians calling themselves Start To End recreated the album live on a short tour earlier in 2025. Second, band co-founder Martin McAloon embarked on a solo tour, playing a deconstructed version. Each represents a different facet of the truth; the former as a surface layer of acoustic simulacra, the latter as an exploration of the essence of the creative genius behind the music.

A Showman Calls

The show comprises two distinct halves, the first is a reasonably orderly play through of the album whilst the second is more… fluid. McAloon arrives on stage clutching a carefully prepared setlist which lasts for about ten minutes before he starts inviting requests from the audience. A self-confessed showman, McAloon loves to prove what he’s capable of. He’s not just the tall guy at the back, he’s a skilled musician in his own right.

The cosy venue of the Artisan Tap in Stoke lends itself perfectly to McAloon’s style. Easy banter with the audience and imperfectly played songs are punctuated by funny, endearing, insightful stories about the good old days. This is no slick, polished show to make you think you might as well have stayed at home and watched the DVD. This is the genuine essence of live music; a performer close enough to touch, chatting and joking and sharing songs which transport the eager, appreciative audience to a better time and place.

Happy Days

The stories are a masterclass in name dropping. From the antics of bands staying at the Columbia Hotel in London during recording sessions to the antics of bands playing at the Band Aid / Fashion Aid launch show at the Royal Albert Hall, the inter-song chat is a reminder that Prefab Sprout played in the big league. While recording the album and after consuming rather a lot of Beaujolais Nouveau, drummer Neil Conti poked himself in the nose with his brushes. Apparently, if you listen carefully to the start of Horsin’ Around, you can hear Martin laughing.

These tales don’t come across as self-aggrandisement, they are delivered with the ease of a friendly taxi driver excitedly sharing news of who they’ve had in the back of their cab. The overall impression is of a performer who is on the road to bring back better, easier, happier days for himself as much as for the audience. The atmosphere is collaborative, co-operative. There’s no wall between the stage and the cheap seats, no pit, no stern security staff.

A Rose by Any Other Name

The Steve McQueen album is known in the US as Two Wheels Good, hence the title of the tour. Back in the 80s, on a Saturday morning TV show, the band were asked why the album was so called. Paddy McAloon replied that he figured it doesn’t really matter what things are called and so why not give the album a name that people recognise and like. The theme of names crops up again in the song Nightingales on the album From Langley Park to Memphis; “If we sing are we nightingales, shine are we stars?” If that’s true then Martin McAloon shines very brightly indeed.

The songs have been deconstructed and tweaked to make them fit into a single guitar’s capability. Even then, McAloon demonstrates impressive dexterity. During some songs, if you weren’t watching closely, you’d swear a third hand had appeared on the guitar. Others seem just a little out of reach, with the most complex compositions presented as a series of vignettes rather than a flowing concerto. Johnny Johnny (Goodbye Lucille #1) was a song which showed McAloon’s dexterity with the guitar strings, playing them not like heart strings, one by one, but seeming to play two different guitar lines at the same time.

Me Brother’s Songs

This is now McAloon’s third national tour and he has also played support for such other 80s artists as Thomas Dolby and Tom Bailey (Thompson Twins). Each time, his confidence grows as does the complexity of the songs that he performs. The catalogue is huge; seven studio albums in addition to three that were solo projects for brother Paddy. 83 songs, not including bonus tracks and B sides, and McAloon has set out to learn them all. McAloon shows great respect for the catalogue, referring them to ‘me brother’s songs’. With each tour, he is making them more and more his own.

These are not simple verse, chorus and fade three minute disposable pop songs. Each is a fine example of the craft of songwriting with complex, layered melodies, opposing harmonies and lyrics worthy of any poet laureate. To reduce each song to an essence that can be played on guitar by one person and then to memorise them to the point that the audience can call out requests is impressive to say the least. McAloon’s humble, self-effacing façade is at odds with the talent on display.

Treat Yourself

Every now and then, a song comes along which sits right in the confluence of McAloon’s voice and fingers and we get a rendition so complete that it’s hard to remember what the original sounded like. Cruel from the album Swoon was a good example of this. Other songs such as The Sound of Crying carry such significance for McAloon that his personal energy carries the song along.

With time marching on, McAloon is forced to abandon the audience requests to return to his set list and the big finale. Life of Surprises, Cars and Girls and King of Rock and Roll bring the evening to a close with what has become a trademark singalong.

After the show, McAloon runs his own merch table where you can treat yourself to some vinyl, a badge or T shirt whilst enjoying the company of surely one of the most accessible and genuine musicians in the business. Overall, an absolute delight and must-see for any Prefab Sprout fan and a masterclass in how to survive the music business and remain human.

Martin McAloon’s Two Wheels Good tour runs across the UK until 21st December.

Martin McAloon online: Website / Facebook / X / Instagram / Spotify

Keep up with At The Barrier: Facebook / X (formerly Twitter) / Instagram / Spotify / YouTube