While guitarist Midge Ure was a member of Visage and was briefly in an early version of Thin Lizzy, he’s best known as the front man of the British power-prog band Ultravox.
Ure has enjoyed an active solo career since Ultravox split three decades ago, and the recent three-CD/three-LP Royal Albert Hall 04-10-23 is a thorough overview of his career, including a performance of the entire 1980 Ultravox album Vienna.
Ure turned 70 in the same month the concert was recorded, but that was unplanned and other concerts were being recorded during his Voice and Visions tour
“It wasn’t until the tour was nearing an end that the idea of the birthday concert was born,” he said.“These days, you can record as many shows as you like [on] digital mixing desks. The problem is finding time or enthusiasm to listen to them all.”
He didn’t expect that particular show as an option, due to expenses.
“I honestly didn’t know we were recording it,” he said. “There’s a huge cost to video or record in the Royal Albert Hall, so it came as a surprise to find we had captured that amazing evening. A deal was struck with the venue and this is the result.”
The concert opened with a primarily acoustic set that comprises the first CD. The second includes Vienna and other fan favorites with Ure supported by his backing aggregation, Band Electronica, with Cole Stacey on bass, Joseph O’Keefe playing keyboards, and Russell Field using electronic drums. Stacey played mandolin on “Guns and Arrows.”
Guest musicians for the show were pianist Ty Unwin and cellist Caroline Dale.
“The songs were a combination of the previous two tours, including the entire Vienna album. I wanted to include that, as Ultravox never managed to perform at Royal Albert. The acoustic or cello Viking songs had to be arranged, of course, but the brilliant Ty Unwin, who arranged my Orchestrated album, did those for me.”
Ure admitted that selecting the appropriate songs from the various eras of his career was an arduous process.
“It took a while, much to the poor musicians’ annoyance,” he said. “But I wanted to play some of the deeper songs alongside the commercially successful hits.”
Ure discussed the instruments he played at the concert.
“I have a pair of matched limited-edition Taylors that I was given in Germany many years ago. They are the best acoustics I’ve ever owned, not just because they sound great, but they have great electronics and the best necks ever.”
He played one of his signature Vintage V100MU models and a Stratocaster he’s had since his Ultravox days.
“I had an ebony fretboard fitted with wide, Gibson-like frets, so it’s completely black.”
Asked which song had the most-unique arrangement for the concert, he zeroed in on the title track from his fourth solo album, released in 1996.
“I was very pleased with ‘Breathe’ – a very stripped-down acoustic arrangement but still had a sense of drama.”
Now a septuagenarian, his voice, while still strong, sounds different to longtime fans.
“Vocal cords age the same way and at the same speed as everything else, so it has matured and breaks in different places. It’s also not as pure, but that’s something you earn.”
More touring is in the offing for the United Kingdom and Europe in 2025. And while a cover of a Thin Lizzy song doesn’t appear on 04-10-23, that’s not the case now.
“On the current tour, I’m touching areas I’ve never delved into, and that includes ‘The Boys Are Back In Town.’”
10-4-23 opens and closes with songs that allude to spirituality – “Dear God” starts the concert while “Hymn” concludes it – but their placement doesn’t have hidden meaning.
“I have my opinions on what people do in the name of fixed religions and I write a lot about it, but that was nothing intentional.” – Willie G. Moseley
This article originally appeared in VG’s March 2025 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
