Did Matthew Seligman play bass?

...along with D Green of this parish.

Matthew Seligman was there and was wearing a bass, but he was the weak link, I'm afraid, I suspect due to over-refreshment as he was staggering about a bit.

A much better show of bass duties was made by the young man from The Pirate Twins, a Thomas Dolby tribute act, whom Dolby had seen play the night before and invited to join him on stage. He made a superb fist of Hyperactive.

Martin Mcaloon displayed a bit of prickliness upon being questioned by Dolby about a Sprout reunion. 'It's ancient history', he said, through gritted teeth. He also said that Paddy may have new music out some time, 'but probably not soon'. Wendy Smith, it should be said, looked and sounded sublime.

What a joy to see Trevor Horn play bass on Airwaves and Bruce Woolley give the finest Theremin solo I've seen all week. Vocalist Adele Bertei appears not to have lost any of her astonishing range.

I seem to remember a massiviste complaining recently about not going to gigs anymore, 'Because there's nothing different to see'. Ahem.

And the fact that there were quite a few 'What the?' faces around me only added to it.
Ok, at times it did seem like you had gatecrashed a private muso party, but Dolby had made it clear what was going to happen - meet on stage at the venue and do it on the fly after not performing together for 26 years.
That takes balls and requires the patience and indulgence of the punters, which, for the most part, was what he got.
Im not a devoted fan, only one album and that needed the dust blown off it a couple of days before but I found it fascinating. A slight anxiety inducing quality to it (can they pull it off?) added a nice visceral layer.
Dolby has of course patented the 'Rock Boffin' tip but, he has real keyboard...er...'chops', can properly sing and occasionally has a sublime, light touch to his songwriting.
Best moments - the utter shellshocked disbelief on the face of the bloke from the Dolby tribute band who had been asked the night before to turn up with his bass. He thunked and plucked his way dexterously
through 'Hyperactive' whilst clearly struggling with the internal dialogue "I cant believe this is happening to me!"
A bit like Bowie shouting out 'Is D.Green in the house? Strap a Fender Tele on and take Earl Slick's part on "Stay" will you?'
Near the end, Trevor Horn stroked the bass, Bruce Wooley 'addressed' the Theremin and, with just Dolby on piano and vocals, they produced a beautiful 'Airwaves'. The genuine static crackle that comes with creative alchemy fizzed through the place.

A while ago, someone posted on here (forgive me, cant remember who) that there was nothing new happening at gigs anymore, all now formulaic and dull.

I should have got you a ticket.

I started that post and then had to attend to my son, returned, posted and found that pocket had got there first.
Boring for the massive, Im sure.
So take yours down pocket - its poor.

I've got Healing on at 11.

but work commitments scuppered that idea. Quite like a bit of Dolby, 'Golden Age..' and 'Flat Earth' are fine albums

It sounds absolutely fascinating, albeit indeed in a "What the?" kind of way, and also like the sort of thing a TV producer would briefly consider for Sky Arts or something on BBC3 and then discard on the grounds that no-one would be interested. I guess that (either) the shame or the gloriousness of it is that it really can't be repeated. Good work, Dolby!

but even I agree that it sounds like a great night.

Is that something that could catch on? See both the rehearsal and the actual gig? I know I would pay to see that for a few bands. I suppose it might destroy the magic a bit, but as long as the audience were up for it and in the right frame of mind I can't see how it could be anything other than fascinating.

A really, really good idea. I'm glad that you say, even as a non Dolby fan, you would have given it a go. Confirms the open mind(s) of the massive.
As I said, I'm not the biggest fan either, but had to give the bloke respect because he could have took the easy option of rehearsing a perfunctory set and doing the usual Carling sponsored venues to his solid fanbase.
Instead it was so bloody interesting to kind of peek in on how live material develops, what works and what doesnt. It might have been dry if it had been left at that but the worked up 'set' at the end was lovely. The venue helped - something like this has to be intimate.
Dolby kind of did a 'masterclass' as it was opening out - talking us through the history and whys and whats. It was certainly a risk because it could have been a real screw up but, I suppose being a billionaire
helps to ease the nerves a little.

I would have loved to have gone (and the Union Chapel's walking distance from my house).

On another thread I saw Dolby's talents as a producer decried but I think he was the right person for the Sprouts. I also think that The Golden Age of Wireless is one of the great lost 80s LPs. Dolby encouraged people not to take him seriously because of the boffin gimmick but it's still a lovely listen.

Ignore