UB40
Thebarton Theatre

UB40 have always been a very democratic band. Apart from taking their name from no less of a leveller than the English unemployment benefit application form and holding the thin multi-coloured line against the doughy racism of National Front skins and oi’s at the turn of the decade, UB40 have worked well as a unit. There have been no line-up changes since they began more than ten years ago, song royalties are credited to the whole band and they get on so famously they plan to set up their own village in Jamaica.

This eight piece reggae band which hails from Balshall Heath in industrial strength Birmingham has consistently purveyed a likeable mix of street politics and goodtime music that has an irresistible rhythm and splendid production values. They claim to have kept the pop in reggae and their social message is strictly the here and now. There are no transcendental Rastifarian anthems to the Lion of Judah from this band.

It is a balmy January night and the full-house crowd at Thebarton Theatre is more than ready for the main event. The varilights go into a spin, the syncussion starts to splash and the keyboards begin humming. UB40 is touring as an even dozen – there are two extra horns and two women singers, Dee Johnson and Lin Sandiford. They begin with the overture from the latest album – Dance with the Devil. Drummer Jimmy Brown starts tangling with the snares and the horn section led by Brian Travers, with occasional help from Astra on trumpet, begin the signature chords counterpointed by Michael Virtue on synths and Earl Falconer’s unswerving bass. The dry ice is already thick on the ground as banks of lights rotate from deep blues to orange. The Adelaide crowd is already off its face with the first number. The silent reggae army is marching.

Ali Campbell comes forward for the vocals on Keep on Moving from the Signing Off album. Astra followed with some serious toasting (a much more subtle word than rapping) and the band began the first of its list of hits from their covers collection, Labour of Love – the apparently irredeemable Neil Diamond oldie, Red Red Wine. With cascades of keyboards and warm harmonies it is not surprising it was a hit in twelve countries four years ago and last month even the Yanks caught on.

A switch of lights, more dry ice and the band was nearly enveloped in purple haze for an early number Please Don’t Make Me Cry. A soaring sax solo from Travers distinguished that one too. Cherry Oh Baby, also from Signing Off came next and then the new track Where Did I Go Wrong. They didn’t nor with the catchy Come Out to Play. Astra stepped up for some more hyperactivity and back for Ali Campbell’s Sonny Bono and Dee Jensen’s Chrissie Hynde in I Got You Babe.

Everybody can sing in this band. Percussionist Norman Hassan led the charge with the old Slickers number Johnny Too Bad and bandleader Robin Campbell announced a song for the Black People of South Africa. A simple anthem, but like all of UB40’s material, neatly crafted and politically succinct. The house lights came up and microphones stretched into the crowd for the Amandla choruses. When UB40 say the people have power, you tend to believe them.

“Fully Employed” The Adelaide Review, No. 60. February, 1989. p.26.