Coming on stage tonight to celebrative applause, Ron Mael almost breaks character and cracks a mild smile. As a performer he is internally energized, spending most of the night sitting at his keyboards. I must be hard for him some nights to be poker faced and not smile during Sparks gigs. The band opens the first Auckland show in their career with the appropriately titled So May We Start, the hit single and opening track from the acclaimed 2021 movie musical Annette. The next song states their modus operandi.
I was a latecomer to Sparks music. When I first saw their faces in teen magazines and was intrigued by their look, though never got vinyl. In the year 2000 I finally bought a Sparks hits album. What had I been missing?
A lot.
The music of Ron and Russell Mael was the last thing I thought I would hear coming out of Los Angeles. A sound unto itself. They are often registered as “the best band you have never heard of”. They have a huge catalogue of great albums totally under the radar.
They sparked it up in Los Angeles in 1971 under the name Halfnelson. Todd Rundgren helped secure a record deal and produced their debut album Halfnelson, which was soon to be rebranded and re released as Sparks. Rundgren often spotted talent that other people missed. He bankrolled Bat Out Of Hell when major labels thought it was a commercial joke.
Sparks spent a large part of their early career based in London. Their sound always seemed rooted in Europe, and England was a perfect place for their development. One of their earliest LA fans, Diane Mallory, described them as “the finest new English group since Traffic”.
They have a huge list of albums to draw upon. Their 2008 UK residency of “21 albums over 21 nights” is something not many could pull off. Proof positive they have the music and the ability to be able to perform a different album every night.
Do Things My Own Way.
Russell announces to the crowd that it he didn’t know why it took so long to get here, but it’s better late than never. It has been worth the wait. He knows how to work the crowd. His stage presence is as good as it gets. Dressed in a pop art suit, he is constantly clapping his hands over his head and leading the crowd upward and onward.
He is polite and appreciative, thanking the audience after most of the songs. His voice is operatic and totally unique. A stamp of artistic genius. Coupled with his brother’s harmonic and melodic choices, when Russell sings, you know you are listening to Sparks.
The Mael brothers are super resilient. Russell is 77 and Ron is 80, and they are still delivering the energy of youth, helped obviously by their brilliant young backing band.
Beat The Clock is the first big single tonight. It was part of the turning point album No 1 In Heaven. Produced by Giorgio Moroder in 1979, its electronica was definitely a path towards the sound of the 80’s.
When the band starts up Walk Down Memory Lane, the audience is on its feet. Ecstatic to be at the gig, and giving much deserved love to the Mael brothers and their top of the line session musicians. Mike Beck joined me for the gig and has reviewed many shows at the Kiri Te Kanawa Theater. He said he had never seen this many people on their feet at the venue. Obviously, neither had the security staff, who aggressively cornered people and ordered them to get back to their seats.
Music supporters pay huge prices for their tickets; they don’t need the guards “just following orders” to road cone and block the fun. Thankfully the audience’s will to enjoy the concert backed off the spoilers, who gave up hassling them.
In the middle of No1 Song in Heaven Ron is center stage and does his hilarious smiling dance routine. When finished, he goes straight faced again; checks his coat and tie is in order, and walks dryly back to his keyboards. His performance has a similar flavor to Andy Kaufman’s SNL skit “Here I Come To Save The Day”.
Ron Mael’s comedic approach has always been part of the bands image. He still has his mustache, though it’s no longer the ironic Chaplin/Hitler look. He regretted that for a while, and considering his culture, it is definitely paradoxical. His appearance is timeless though.
This Town Ain’t Big Enough For The Both Of Us performed near the end of tonight’s gig, is the core of the Sparks sound. Ron Mael is a modern Beethoven. The Sparks 2002 album Lil Beethoven, was aptly titled. He has been playing piano since the age of 5. He was made to be a composer.
The encores make some statements. Can I Invade Your Country followed by the song The Girl Is Crying In Her Latte, the title track from their 25th album released in 2023. The song is a staunch step into modern electronica. The lyrics resonate considering the release date.
At the shows end, there is an endless wave of crowd applause. The brothers stand humbly in true appreciation. One of the best gigs I’ve ever seen. There was also a healthy percentage of young people at the gig who sang every word. A good sign. The gathering was a celebration that after the long journey they have travelled in their career, Sparks finally made it here.
John Kempt
Photography by Greg Haver
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