80’s Nostalgia and The Human League are still worthy of an Arena headline tour

★★★★☆ (4/5)

**THE HUMAN LEAGUE PERFORMING AT LEEDS FIRST DIRECT ARENA**
**PHOTOCREDIT: JOHN HAYHURST**

This summer I witnessed the travesty of the decade when The Human League did not headline Tramlines 2024 on the Sunday, instead Snow Patrol bored everyone into submission after a stunning hour of Human League hits which had the whole of Hillsborough Park in raptures. Bear in mind this was in Sheffield, the home city of the band and since the late 70’s those post punk/new romantic/electro pop (– whatever genre you want to call them) have dominated the UK pop charts and even had the Christmas No1 in 1981. So it makes perfect sense for them to tour around December and play some arenas again after festival season. This is the ‘Generations’ tour and there is a mixture of ages, some clearly brought here by their parents to witness some sublime synth pop, and others in their fifties just reliving their youth.

T’Pau opened the show, with Carol Decker’s vibrant vocals delivering hits like “Heart and Soul” and “China in Your Hand.” The band’s upbeat performance, paired with Decker’s charming rapport with the crowd, set an enthusiastic tone for the evening. They did eventually warm the crowd, but a tough gig as it was only half full at this point.

Next was Sophie Ellis-Bextor, who dazzled with her kitchen disco-inspired set. I’ve seen this show 3 times this year and every time it is still so infectiously entertaining. Getting more than half the crowd on their feet dancing was an achievement in itself. This is an all seater gig, but Sophie does this with ease calling us all “darlings” and kicking up her heels and those legs that seem to go on forever.

Wearing a patterned short cut jumpsuit she performed fan favorites like “Murder on the Dancefloor” and “Take Me Home” as well as a medley of covers including “Lady (Hear Me Tonight) / Groovejet (If This Ain't Love) / Can't Fight This Feeling” and finishing with some ABBA - “Gimme! Gimme! Gimme! (A Man After Midnight)”. The cover I was anticipating was Madonna’s “Like A Prayer” but sadly this wasn’t played, it was so good at Tramlines earlier in the summer.

Her set though was polished and energetic, with her trademark elegance shining throughout. The crowd loved her ability to bridge retro vibes with contemporary pop, turning the arena into a giant dance floor, the perfect support slot tonight as she was on Nile Rodgers last tour.

From the moment the lights dimmed and the first pulsating synth chords of "Hard Times" echoed through the venue, the crowd was transported back to an era when electronic music reigned supreme. Frontman Philip Oakey, with his unmistakable baritone voice, was joined by the ever-glamorous Joanne Catherall and Susan Ann Sulley, whose harmonies and stage presence were as captivating as ever. Dressed in futuristic yet stylish attire, the trio perfectly encapsulated the retro-futuristic aesthetic that has become synonymous with The Human League. Even now when the opening synth chords for “Love Action” are played I get those goosebump moments, and for me it still feels fresh even though it is over 40 years ago since being played at school discos.

The setlist was a masterclass in balancing classic hits with deeper cuts, catering to both long-time fans and newer admirers of the band’s work. Predictably, songs from their seminal 1981 album ‘Dare’ dominated the evening, including timeless tracks like the aforementioned "Love Action (I Believe in Love)", "Open Your Heart", and the universally adored "Don't You Want Me." Each track was met with rapturous applause, with the crowd enthusiastically singing along to every word. Yet the band also showcased their versatility with selections from later albums, including "The Lebanon" and "Tell Me When," reminding everyone of their ability to evolve while staying true to their electronic roots.

One of the standout moments of the night came with the performance of "Human," their soulful 1986 hit produced by Jimmy Jam and Terry Lewis. Oakey’s emotive delivery combined with the lush harmonies of Sulley and Catherall created a spine-tingling atmosphere.

They seem to have dropped "Being Boiled" though, the band’s debut single, I can understand, as this was pre the girls joining, but it highlighted the pioneering spirit and raw energy, a stark contrast to the polished pop of their later years but is no less thrilling.

Visually, the concert was a feast for the eyes. The stage design featured sleek, minimalist grey and white stage design, two synths and a drum kit at the back and a huge staircase that Phil mainly used as he traversed from the left to the right and front to back. Clever use of video projections and retro-futuristic graphics added an extra layer of immersion, transporting the audience to a world where neon lights and synth waves collide.

What truly stood out, however, was the band’s genuine connection with their audience. Oakey frequently interacted with the crowd, his charisma shining through as he reminisced about their early days and expressed heartfelt gratitude for the fans’ unwavering support. There was a touching moment too as Susan Ann Sulley briefly stopped proceedings to pay tribute to a family member in the audience.

By the time the final notes of "Together in Electric Dreams" faded away, the audience was left in no doubt that they had witnessed something special. The Human League proved that their music and message remain as relevant today as they were four decades ago. This wasn’t just a concert; it was a celebration of electronic pop history, a joyous reminder of how music can connect and uplift.

In an era of fleeting trends, The Human League’s enduring appeal lies in their ability to blend that feel of innovation with timeless melodies and long may it continue.