Live Review: Tony Hadley (Ex Spandau Ballet) Strikes Gold in Australia 2026
21 March 2026 at Astor Theatre, Perth, Western Australia.
Review by Sheldon Ang
Photography by Sheldon Ang Photography
I know this much is true.
It’s the third time Sheldon Ang Media has covered Tony Hadley live since its inception in June 2022, and once again, the former Spandau Ballet frontman proved that time has barely touched his voice; the power, projection, and authority. Sitting in the category where legacy artists often soften their edges, Hadley continues to strike gold through his vocals and stage presence at his unofficial Perth residence, the historic Astor Theatre.
For this photojournalist, the night carried a sentimental reflection. His very first concert shoot and review in 2020 was on Tony Hadley (for another media), just before the world shut down. Seeing him live again was a full‑circle moment, twice over. Nothing has changed since in last night’s final destination of the sold-out Australian tour.
This third Tony Hadley concert also offered the rare luxury of comparison. Not just between setlists or venues, but between performances separated by time, context, and audience expectation. While the music remains deeply rooted in nostalgia built on Spandau Ballet’s hits, this show leaned less into storytelling of the 80s New Romantics band and more into the performance with some conversational punctuation in between.
The night opened quietly enough, with Hadley seated on a stool, easing into Anthony Newley’s Feeling Good…
It was a soulful, croony beginning, almost deceptive. At 65, some may have assumed that his energy had softened with age, perhaps expecting an intimate, café‑style sit‑down performance, following the relaxo opening act, Georgia Lines. There was a sense, for a brief moment, that the night might unfold gentle. But that illusion didn’t last long.
As soon as the crooning ended, the switch flipped. The archetypal ’80s synth pulse of To Cut a Long Story Short cut through the theatre. Spandau Ballet’s debut single, about being pushed into situations you don’t fully understand and feeling overwhelmed by forces beyond your control, was relevant given the current political climate. Released in 1980, it was the band’s first-ever single, and it still carries urgency, live. It set the tone of the night, launching the audience into a 45‑year musical journey.
From there, urgency filled the room from end to end. Riffs, drums, keyboards, and percussion drove the set relentlessly forward. One noticeable absence was longtime percussionist and back up vocalist Lily Gonzalez, a familiar presence in previous tours. Stepping into her place was a hypnotic musician (our apologies for not getting her name) who appeared completely immersed in the moment, often flicking her hair back in trance‑like rhythm as the songs unfolded. She brought her own physicality and intensity to the role, while this photojournalist drawn by her enigma.
The nostalgic run of Spandau Ballet continued with Highly Strung and Only When You Leave. The pace eased briefly with I’ll Fly for You, a jazzy interlude that put a break on the night. The sexy sax was missing from this tour, but the song still carried that unmistakable ’80s sophistic‑pop atmosphere. The chorus soared clean and clear, opening another Pandora’s box of memory. The romantic delivery highlighted Hadley’s rich baritone and controlled vibrato, which was instantly recognisable.
Tony Hadley was animated throughout the performance. Having now seen him live multiple times, his signature, the punch‑below‑the‑belt gesture whenever he hits a hook (no pun intended) became the norm. He flirted with the musicians, breaking into synchronised air guitar like in the spirit of Gene, Paul, and Ace of KISS, and every time the performance tipped into full rock‑star mode, the crowd mirrored with rock god gestures. It was a quintessential Tony Hadley counternance, grimacing at the peak of vocal reach before launching into high falsettos or booming baritones.
By the midway point, boomers and Gen X fans flooded the aisles, inching toward the front, only to be gently ushered back by security.
There were slower moments too. Alibi appeared early in the setlist, followed by Turn Me On, which Hadley was quick to clarify has nothing to do with sex. Regardless of interpretation, it carried raw emotion in unmistakable ’80s style.
Hadley sat once more for Through the Barricades, a track he said felt fitting for the chaotic times we’re living in relation to war in the Middle East. It was the most dramatic and emotionally charged performance of the night. Haunting and restrained, it stood out as perhaps Hadley’s strongest vocal moment from an emotional perspective. The song, inspired by the death of a close friend of the band, remains one of Spandau Ballet’s most powerful compositions, cutting deep into the hearts of the audience.
The second half of the show shifted gears again, this time with a surprise for some. A cover of Queen’s Somebody to Love was introduced with a nod to BandAid. For those in the audience initially watching with arms crossed, this became a turning point. No one replaces Freddie Mercury, and Hadley never tried to. Instead, his powerful baritone punched, swung, and landed with conviction. For those familiar with his live performances, it was no surprise; the song has long been a staple in Hadley’s setlist, showcasing his vocal gymnastics. It wouldn’t be surprising if he had sung Nessun Dorma, and we reckon he would have nailed it.
Then came the moment many had been waiting for.
I‑I‑I‑I‑I (not ha ha ha ha ha).
The crowd immediately appointed themselves as backing vocalists as Hadley glided into True, opening with the chorus like a smooth heartbreaker, equal parts confidence and charm. There was a 007 presence on stage. Memories came flooding back: the Solid Gold Countdown of 1983, those grid iron shoulder pads, and the unmistakable image of host Marilyn McCoo shimmering like a distant star 43 light years away. It was an illusion pulled straight from another time, briefly superimposed over the present.
The soft snares, light hi‑hat, and relaxed tempo were as chill as a warm night in a Malaccan suburb in the ’80s. Without the sax, the sexiness was partially clothed, replaced instead by guitar. That change altered the texture but not the impact. I think we could live with it.
The night closed with Gold, a fast‑paced, cinematic empowerment anthem by Gary Kemp, inspired by classic James Bond films. Again, Hadley delivered it in full heroic mode: big open vowels, unwavering conviction, and those signature below‑the‑belt punches thrown repeatedly. By then, the front rows were packed tight, the energy electric, and nostalgia fully activated. The sense of collective memory was tangible.
It was a trip for the ages, and Hadley will do it all over again tonight to close out the sold out Australian tour.
“I recall the band posters in my room in my teens, and now seeing Tony Hadley live feels like a coming‑of‑age moment for me,” said Adele Ang, 57, sister of this photojournalist.
And I know this much is true.
Setlist of Tony Hadley in Perth
Feeling Good — Anthony Newley cover — from the 1964 musical The Roar of the Greasepaint – The Smell of the Crowd
To Cut a Long Story Short — Spandau Ballet — Journeys to Glory (1981)
Highly Strung — Spandau Ballet — Parade (1984)
Only When You Leave — Spandau Ballet — Parade (1984)
I’ll Fly for You — Spandau Ballet — Parade (1984)
Alibi — Bradley Cooper — A Star Is Born (Soundtrack) (2018)
Round and Round — Spandau Ballet — True (1983)
Turn Me On — The Grates — Teeth Lost, Hearts Won (2008)
Soul Boy — Spandau Ballet — Once More (2009)
Through the Barricades — Spandau Ballet — Through the Barricades (1986)
Walk of Shame — Tony Hadley — Talking to the Moon (2018)
Chant No. 1 (I Don’t Need This Pressure On) — Spandau Ballet — Diamond (1982)
Somebody to Love — Queen cover — originally A Day at the Races (1976)
Lifeline — Spandau Ballet — True (1983)
Mad About You — Tony Hadley — Talking to the Moon (2018)
True — Spandau Ballet — True (1983)
Gold — Spandau Ballet — True (1983)
About the writer/photographer: The founder of Perth-based Sheldon Ang Media (est. May 2022) has been accredited to more than 200 of the hottest acts including Taylor Swift (ERAS Tour in Sydney), Coldplay (Perth), AD/DC, Metallica, KISS, RHCP, P!NK and Suzi Quatro (pictured) with reviews shared by the likes of Belinda Carlisle, Roxette, Tina Arena, UB40, Delta Goodrem, and Tina Arena on social media. He has interviewed the late Ace Frehley (KISS), John Steel (The Animals), Frank Ferrer (Guns N Roses), Phil X (Bon Jovi), Andrew Farris (INXS) plus over 100 artists. He’s also a contributor on Triple M Radio as a music journalist.
