Funny things, the first gig of the year.
It always feels like you haven’t been to one for months (even though it’s always just a matter of weeks), and part of your brain in still in ‘eating Maltesers and staying in to watch The Masked Singer (well, if it’s good enough for Lydon, it’s good enough for me) mode, but this needs to be snapped out of by the middle of January.
And tonight is an opener in the form of an act I’ve yet to see live, even though they’ve been in existence for over 40 years, on and off, in one shape or another as Then Jerico, but always the brainchild of singer (and only remaining original member) Mark Shaw. If you’re in any doubt, he describes himself on Facebook as “the founder member, singer, lyricist, melodist, songwriter, producer and owner of the band and brand of Then Jerico”.” It’s very much his baby.
And as his current band stream on to the O2 Academy stage to the over familiar sound of David Bowie‘s Heroes, once they start up, Shaw makes a resplendent entrance, all cravat’d up, with a cane in hand, he seems to hurtle in. It’s quite the welcome, with a smile that never leaves his face all evening.
‘Song For The Brokenhearted’ elicits the first clap-along, but it’s the should-have-been-a-mega-hit duet with Belinda Carlisle (sadly absent, her vocals ably sung by their guitarist) ‘What Does It Take’ that kicks the night into action, and whether it’s a single, album track or B-side, Shaw attacks them all with an admirable equal vigour, although his attempt at a scouse accent that follows is shocking.
His band, that are introduced as the night goes on, are as tight as humanly possible, not missing a single beat all night while Shaw’s voice is also impeccable. And he looks like he’s enjoying every second, removing his jacket on an intense ‘Blessed Days’.
He’s an entertaining presence, built for stadiums in all but amount of hits, his stagecraft a nostalgic throwback the 80’s era. It’s all microphone stands in the air and asking the crowd to “show me your hands” during ‘Helpless’. As the evening draws on, he gives thanks to pretty much everyone he’s encountered on his musical journey, his politeness extending to tonight’s security, the bar staff, specific crowd members, the merch guy etc (you wouldn’t get Jim Kerr doing that).
It’s clear to see that he is adored by the crowd, especially when he launches into their 1987 first Top 20 single ‘The Motive’, evoking the memory of his time as a Smash Hits cover adorning ‘pretty-boy’, an image which has been remembered by those of a certain age in the crowd judging by the screaming that ensues as Shaw comes to the barrier to grasp some of those hands that he asked for earlier.
“This is what we do it for, to see happy smiling people acting as if they are 18”, he declares before ‘Let Her Fall’ shows they had a stack of catchy tunes that should have done better sales-wise than they did. He plugs their forthcoming Irish dates with his best Bono impression, before their only hit ballad ‘Sugar Box‘ sees the couples in the crowd canoodle before the funky ‘The Hitcher‘ has them grooving.
The main set ends with acapella intro into their biggest hit, the chart-bothering ‘Big Area‘ (interspersed with a rendition of Happy Birthday for one of the fans) and the crowd get one more chance to pretend it’s 1989 again.
The encore consists of a stripped down version of ‘Darkest Hour’ and ends with ‘Reeling’, which sees the frontman coming over to sing with the TJ ultras that have amassed upstairs stage left. It’s a mutual love between singer and band that is heart-warming to encounter.
So, no more chocs, no more C-listers dressed as moths, 2026’s year of gigs is off to a flier, that’s for Shaw.
