Erasure review, Eventim Apollo, London: Neon nights and thumping pop hits

It’s heartening to see that singer Andy Bell intends to grow old disgracefully. Quite right too

Andy Bell and co have a 33-year back catalogue with which to impress those in attendance (Redferns via Getty)

A sea of hands in the air – many balancing pints precariously – reach for the ceiling of the Hammersmith Apollo as the crowd sings along to Erasure’s 1990 hit “Blue Savannah”. For this loyal fanbase, seeing the band live is a near-religious experience. A Scottish voice within earshot drawls: “You see – this is why you do the hits.”

Fortunately for the synthpop duo, the hits are in abundance thanks to a 33-year career. Andy Bell is, as ever, on vocals and commands the crowd from centre stage of a set made entirely of neon bars. This also forms mini stages for the powerhouse divas on backing vocals that flank his either side throughout. On a platform above Bell is Vince Clarke on keys... and the occasional light-up tambourine that you never thought you needed in your life before tonight.

The pair are promoting their 2017 album World Be Gone, which is being re-released as a fantastic orchestral edition called World Beyond in March. There are five tracks from the album featured in tonight’s 24-track setlist – testament to the sheer power of Erasure that they can, if they want, afford to leave out certain hits – and still have the crowd screaming for more.

There’s a particularly crowd-pleasing cover of Blondie’s “Atomic” which, with their previously mentioned back catalogue, they really don’t need to do. It’s feel-good, thumping electropop that rarely lets up from the deafening opening of broken-hearted disco anthem “Oh L’amour” to the as-expected encore of “A Little Respect”.

During the set, Bell sheds his suit jacket to reveal an oversized sequinned T-shirt, before later discarding this too in favour of a tattooed body suit with shorts. It’s classic Erasure, and heartening to see that Bell clearly intends to grow old disgracefully. Quite right too.

Noticeable crowd moments include euphoric singalongs to “Chains of Love”, “Victim of Love” and “Phantom Bride” – and that sellout audience chanting “Guilty!” in response to “Drama!”

And I defy anyone not to lose it to “Stop!” when it is, quite clearly, one of the greatest pop songs ever. It’s these anthemic, singalong moments that have the crowd completely in Bell’s hand. They roar with delight when he does his signature dance moves across the stage – despite the tour having only recently briefly been delayed due to his illness. With vocals and routines as strong as ever, you’d never know.