Live Review: Alison Moyet – The Last Bow of the Key Tour in Perth
4 June 2025, Riverside Theatre Perth, Western Australia
Review by Sheldon Ang
Photography by Sheldon Ang Photography – Photos to come
“That’s a wrap then. For each of you that showed up at one and more of these 59 shows. I feel entirely blessed. Thank you for your company. You are wonderful. Xx”
Perth had the honour of hosting the final performance of Alison Moyet’s Key Tour. Perhaps, the best was saved for last as the fresh and nostalgic rain poured from the roof of the Riverside Theatre, taking her fans on a 40-year journey through the sounds of modern and old chapters of synth pop.
Moyet was one of the first singers introduced to this writer/photographer thanks to the Solid Countdown of ’83 and ‘84. It was the era when music blossomed into a stylistic pop culture, through the likes of Michael Jackson, Prince, Madonna, Lionel Richie and Yazoo… each casting their music immortality on the program hosted by Marilyn McCoo.
A year later, Moyet embarked on a solo career following the breakup of the synth-pop duo Yazoo, releasing her debut album, Alf.
For both new and old romantics still anchored in the 80s, it may be surprising that Moyet’s musicality transcends time and culture beyond the cobwebs of the “best decade.” With ten studio albums spanning over forty years, Moyet’s latest release in 2024, Key, serves as the namesake of this tour.
At 8:00pm on a wet wintery night, Moyet graces the stage with Fire, More, and Such Small Ale, signalling that new chapters will cast over the Key setlist, as expected from an album-titled tour. Flanked by her guitarist Brendon Cox, and Shaun McGhee, on bass and keyboard – who’s also the producer, she looks at home despite being 9,000 miles away from England.
Moyet’s visceral touch to convey emotional depth tonight is vital to her heartfelt lyrics. The projection of Fire from her latest album Key is infused with nostalgia, tinged with longing and turmoil. She carries the weight of the song through her vocals and physical expulsion, her countenance reflecting the pain of longing. The thematic consistency across her repertoire is evident through the retrospective delivery. More, from her latest album, is a song of self-discovery, sung with a reflective tone and enhanced by Moyet’s signature soulful delivery.
For the old schoolers, their moment arrives early in Nobody’s Diary from Yazoo’s1983 album You and Me Both. It’s another heartbreak, nostalgia, and longing, woven through her soul-stirring vocals. Her live rendition is as raw as the recording, plus with the benefit of the facial expression that goes along with the theme. It’s a breakup anthem, embodying the feeling of not wanting to move on captured in the essence of Moyet’s performance. Her vulnerability is real, which has remained intact across the decades.
And just like that, we are back to 1983, revisiting memories of big hair, shoulder pads, and those Solid Gold Countdown years. The night is still young, as fans are becoming vocal with their feelings for the 80s icon, “We love you Alison!”
She has been anchoring on an elevated platform on stage, with no intention of zig zagging between the flanks. The lighting is simple yet majestic, sweeping across the stage and painting the audience in mainly red and orange hues. Fluorescent tubes line the platform in red, resembling lightsabers, oscillating between illumination and darkness like in scene of 2001 Odyssey. Afterall, the synthetisers were prevalent in those movies, and the attempt to replicate the old-futuristic mood is on point.
With the mystical stage lighting, Moyet radiates an alluring energy, diving into synth-pop with a futuristic twist. She constantly moves fluidly, weaving her body in a malleability as seen in the introduction of a 60’s James Bond movie. With the lights pulsating in the background, her slithering silhouette draws a sense of hypnotic magnetism, luring the crowd into her rhythmic world of psychedelic twists. The groove is in the heart.
Then she delivers soaring vocals in spurts, such as in This House, powerfully exclaiming “It’s cold in here”. Beautiful Gun transforms Perth’s Riverside Theatre into a nightclub, merging psychedelia and dance. The journey so far has been filled with an undulating emotions.
Halfway through the setlist, a synthesiser riff tingles, sparking dreamlike imagery, channelling the audience into a realm of nostalgia. The crowd approves as the mood flips palpably as they dive deep into the early 80s upon recognising Only You – the seminal piece of Yazoo. There is a palpable shift in audience vibe. Red light cast over the stage like in a dark photography room. Moyet’s emotive voice whisks us into a magical realm filled with hope and dreams. For two and a half minutes, images of the two robotic-like mannequins flash before our eyes, taking us back to 1982 music video, as we are in the presence of one of the most iconic synth-pop tracks in history.
Even after four decades, Moyet’s projects with aching sorrow, infused with the raw emotion of heartbreak and finality. Her face cringes, revealing lines of despair in All Cried Out from her 1984 album Alf, perhaps the next most recognisable song. We stare into the emotions of her teens and twenties, before she leads us into the encore.
The stage then morphs into a dance rave, ignited by Situation of Yazoo’s 1982 dance hit. Fans rise to their feet, clapping in cadence to the bass. Love Resurrection keeps the party alive, followed by Don’t Go. Her silhouette weaves through the misty air again. The pulsating synthesisers and infectious basslines are in overdrive, elevating the theatre into a house music territory, as this finale brings us to the night’s most lively moment. The fans chant to the music as Alison Moyet takes her final bow…
“What about Invinsible?” a few asked after the show. We did some research and found that, in a 2017 interview with Classic Pop Magazine, Moyet explained that the song no longer resonated with her. She also noted that Americanised words like ‘dime’ felt unnatural to her as a British artist. She hasn’t performed this major hit since 1987—a sentiment she recently reaffirmed in an interview with Rolling Stone Aus/NZ.
Despite of this missing hit from Moyet’s setlist, the fans were feeling far from invisible.
“I’m already a grandma, this may be my last tour”. Sorry Alison, we won’t accept your resignation.
But if that’s the case, thank you for the music.
Sheldon Ang Media would like to thank TEG Live and Alison Moyet for the media accreditation
Fire – from the album Key (2024)
More – Key (2024)
Such Small Ale –Key (2024)
Nobody’s Diary– You and Me Both (Yazoo, 1983)
The Impervious Me –Key (2024)
So Am I – Key (2024)
Can’t Say It Like I Mean It –Key (2024)
This House –Hoodoo (1991)
Changeling –Key (2024)
Beautiful Gun –Other (2017)
Only You –Upstairs at Eric’s (Yazoo, 1982)
Ordinary Girl –Raindancing (1987)
Filigree –Key (2024)
It Won’t Be Long –Essex (1994)
Footsteps –Key (2024)
All Cried Out –Alf (1984)
Situation –Upstairs at Eric’s (Yazoo, 1982)
Love Resurrection –Alf (1984)
Don’t Go –Upstairs at Eric’s (Yazoo, 1982)
About the Photographer/Writer: The founder of Perth-based Sheldon Ang Media (est. May 2022) has been accredited to more than 180 of the hottest acts including Taylor Swift (ERAS Tour in Sydney), Coldplay (Perth), Backstreet Boys, KISS, Iron Maiden, RHCP, P!NK etc with reviews shared by the likes of Belinda Carlisle, Roxette, Tina Arena, UB40, Delta Goodrem and Tina Arena on social media. He has interviewed rockers Suzi Quatro, Ace Frehley (KISS), John Steel (The Animals), Frank Ferrer (Guns N Roses), Phil X (Bon Jovi), Andrew Farris (INXS) and of course Tommy Buoy of Yachtley Crew plus over 70 artists. He’s also a contributor on Triple M Radio as a music journalist.
