More than a trip down memory lane! Metropol’s Midge Ure review
Midge Ure – More than a trip down memory lane
Catalogue: The Hits Tour | James Hay Theatre, Christchurch Town Hall | Thursday 22 October 2026
For many in the audience at Christchurch’s James Hay Theatre, Midge Ure’s concert was an opportunity to reconnect with the music of their youth. But this was more than a nostalgic trip back to the 1980s. It was a reminder of just how good that music was, and how well it has stood the test of time.
The evening opened with Cole Stacey, a self-described hairy Englishman with a mandolin. A folk musician with an engaging personality and self-deprecating humour, Cole quickly won over an audience who, understandably, had come primarily to see Midge Ure.
His set of thoughtful folk songs was well received, with a particularly moving unaccompanied performance of Hard Times Come Again No More. He clearly made an impression. During the 30-minute intermission, I noticed his CDs were selling at the merchandise table. My only thought was whether we really needed such a lengthy break between the two acts. Cole had created a lovely atmosphere, and the intermission seemed to interrupt that momentum rather than build on it.
Midge Ure opened with Dear God, launching into a performance that drew on a remarkable catalogue of music spanning more than four decades.
At 73, Ure remains remarkably sprightly, with a strong stage presence and obvious musical ability. Moving comfortably between guitar and synthesiser, he reminded us that behind the distinctive voice and memorable songs is a very accomplished musician. The show leaned heavily on Ultravox material, which was clearly what much of the audience had come to hear. And rightly so. Ultravox produced some extraordinary music in the 1980s, combining electronic sounds with thoughtful, often moody songwriting that was quite different from much of the pop music of the time.
What impressed me was how well these songs worked when revisited more than 40 years later. A major part of that was the quality of the musicians accompanying Ure. Cole Stacey returned to the stage, playing several instruments and providing backing vocals, while Joseph O’Keefe moved between keyboards and violin.
Drummer Russell Field also deserves particular mention. His playing provided the rhythmic foundation that anchored the songs, particularly the Ultravox material, where the interplay between drums, synthesisers and guitar is such an important part of the music. His drumming was powerful when it needed to be, but always controlled, providing the structure that allowed the other musicians to bring their own interpretations to the songs.
Together, they were an exceptionally talented group of musicians who contributed far more than just accompanying the main act. They brought their own musicianship and interpretation to the songs, giving the performance the feel of a genuine band rather than a solo artist with backing musicians.
This was particularly evident during Astradyne, one of the standout performances of the evening. Joseph’s violin playing added another dimension to an already extraordinary piece of music, and the audience responded enthusiastically. For me, it was one of the highlights of the concert.
Other standouts included Your Name (Has Slipped My Mind Again), Passing Strangers, New Europeans and, of course, Vienna.
There was something quite special about hearing these songs performed live again. Around me, people were singing along, clearly connecting with music that had been part of their lives more than 40 years ago. And I think that was really what this concert was about.
Ultravox’s music was often atmospheric, thoughtful and emotional. This wasn’t a rock concert where the audience came to dance and lose themselves in the noise and excitement. It was an evening where people could reconnect with a particular time in their lives, with music that still had the power to move them.
Interestingly, the evening retained something of the intimate, almost folk-like atmosphere established by Cole Stacey’s opening set. Despite the electronic origins of much of the music, the emphasis was on the songs, their arrangements and the musicians performing them.
While Ure’s voice was sometimes lost during the bigger, more anthemic songs – he is 73 – the quality of the performance and musicianship on display outweighed that.
The final songs were particularly well received, with the audience visibly connecting with Ure and the music. There was a genuine warmth in the room, both towards the performer and towards songs that had clearly meant a great deal to many people over the years.
The concert was originally scheduled for last year, so we had waited a little longer than expected to see him. But I suspect most people left feeling it had been well worth the wait.
For me, the lasting impression wasn’t the pleasure of hearing familiar songs again. It was rediscovering the quality, originality and emotional depth of Ultravox’s music, performed by musicians who clearly understood and respected it.
Forty years on, the songs still have something to say. And Midge Ure is still very capable of bringing them to life.
A thoroughly enjoyable evening, and one I’m very glad I didn’t miss.
