Wembley Arena, London
Unknown Publication September 1990

Deacon Bleugh’ the opening songs for their first night of a Wembley trio suggests this is a more apt title for the Glaswegian band who have grown up stadium-style. No attention-arresting hit singles kick-start the packed crowd. Its an introduction that plods along, unaided by a blanket of sound quality, smothering individual instruments and not giving The Kick Horns enough support to pull their brassy punches.

Ricky Ross probably knows that a pony-tail does not a pop star make. His voice, at times gauche on vinyl, is not satisfying enough for his piano solos and Burt Bacharach covers, but his own compositions are stacked in the band’s favour. When ‘Wages Day’ warms things up. they renew our faith thick and fast. ‘Loaded’ and ‘Dignity’ are carried along on a wave of singing support from the throng and When Will You’ is a gem of emotion. Lorraine McIntosh is this band’s treasure. Hers is an alternately powerful and passionate voice, imbuing the whole caboodle with character. Sometimes sounding and looking like an angel in sheer tunic she otherwise dances as if she’s stamping on wasps. Deacon Blue are like that infamous nursery-rhyme girlie. When they’re good, they’re foot-stomping good: when they’re bad it’s downright boring. Claire Coakley