Although it has now been established that the first
TSOM gig outside the UK took place in Ancona (Italy) at the end of July 1983,
the band had of course already been out of England once before, for a gig at
Glasgow’s Night Moves venue on 1st April of that year, a concert
which has taken on legendary status thanks to the existence of a relatively high quality video of the entire show, filmed from a camera fitted to an elevated
position opposite the stage.
Night Moves was a club with a rather mixed historical
local reputation, situated a few blocks up Sauchiehall Street from the ABC
venue that seems to feature on every TSOM UK tour itinerary these days, and
those passing the New City Palace Chinese restaurant today at number 92 would
have no idea that they are in the immediate vicinity of a venue which promoted
gigs by many of the great and good on the UK indie scene between 1982 and 1984 (The Birthday
Party, Culture Club, Eurythmics, The Smiths and REM to name but a few).
Rob C was present at the Sisters gig, which took
place on April Fools’ Day 1983, along with many others at Night Moves, a venue
which he has extensively researched : “It is a strange building in
that the gig hall was up 4 flights of a winding staircase above an oriental
restaurant. There is a reason for this. The original building was built as a cinema/music hall in the early 20th Century, with a
ballroom on top. This was not unusual in the early 20 Century with the advent
of moving pictures Cinema. The much bigger Glasgow Apollo just round the corner
has a similar bigger design, although the cinema below Night Moves had been
gutted and turned into three floors of office space by the Night Moves days. The
entrance was up a winding staircase that had passageways on each floor,
although there is also a lift [behind the metal shutter] beside the stairs."
"Bands used this to get their gear up to the venue
in, when it was working, but it was a very small lift. Once at the top there
was a door and you entered what is roughly the top floor on the outside of the
building. On this floor were the toilets, cloak room and pay-in desk, also
another room which was used as a smaller disco called Secrets in the Night
Moves days. You then walked past the pay desk along a corridor and upstairs
into the gig venue area. This had the dance floor and stage, with a balcony
mezzanine that had rounded booths when there were stools to sit it. This was
accessed by two opposing staircases just in front of the bar. Night Moves was
probably the most difficult place to bootleg gigs back then in Glasgow due to
the quite invasive search the Bouncers carried out on entry. The Sisters gig
was busy, I think Anaconda was out or due out and it was busy, not absolutely
rammed but busy. I recently found out that the fire certificate capacity was
only about 400 whereas the
rammed gigs there such as The Cult / Cocteau Twins must have had about 800/900
people in. Alice was a Night Moves dance floor favourite and I think most were
there on the back of that. It was a Friday so it would have been £2 / £2.50 to
get in. It’s funny watching videos back of gigs, I always think they are not really
representative of the gig as you can’t really get the atmosphere. The Sisters
would have gone on late, as the doors used to not open till about 9pm with the
bands on about midnight.”
Glasgow
crowds have always had a reputation as being tough to please going back to the
days of the Music Hall, and so it proves as TSOM open their set with a
slow-building KTC before launching
into blistering versions of Anaconda,
Alice and Adrenochrome. Compared
to Peterborough, the crowd seem strangely static as the Eldritch, at his
sinuous best, contorts himself in his black leathers around the mic stand
delivering a perfect baritone whilst Marx careers around the tiny stage, or
poses one foot up on the monitors, Adams stares out into the crowd from the
back of the stage whilst picking out timeless basslines, and Gunn nonchalantly
strums out power chords between forays to the back of the stage to kick-start
the Doktor for the next track.
The gig was certainly better attended than many
others around that time, with the West of Scotland boasting a thriving
post-punk scene. Alexander T recently recalled on FB : “The Sisters had their
own section at Virgin Records on Union Street. There was a decent alternative
shop in Falkirk which made clothes to order – not the best quality, but it
allowed for originality. I loved the Cocteau Twins who were from the
neighbouring town Grangemouth. There was a huge “goth” scene there at the time.
Robin Guthrie of the Cocteaus had worked at BP at Grangemouth (a massive oil
refinery) and buses were run to both The Sisters’ and Bauhaus’ gigs at Night
Moves”.
The concert itself continued with the band slowing
things down for a full-on Valentine
and a blistering Burn from the
forthcoming Reptile House EP, featuring a more aggressive chorus from Doktor
Avalanche than on record. Von confesses “I’ve never been to Scotland before”,
as the band burst into an incendiary Jolene,
a song well-known to the punters in a city well-known for its long-lasting love
affair with Country and Western music, rendering Eldritch’s comment “We didn’t
actually write that one” somewhat superfluous. “We did write this one”, he adds
proudly as the distinctive beat to Floorshow starts up, and the first evidence
of “chicken dancing” amongst the crowd eventually becomes apparent amongst the
feedback and screams from the stage. Andy then disappears to the back of the
stage to light up a cigarette (clearly visible as these were the days before
the omnipresent dry ice) at the start of Heartland,
as the camera pans further into the seemingly well-attended venue. “Ye’re
rubbish”, shouts a lone and somewhat cowardly voice after the lengthy dirge
eventually reaches its climax, and the band responds with a high octane Body Electric, Eldritch taking up
residence stage left, allowing Marx more room for his own jerky cabaret, and
bringing the main set to a climax. With a brief “Thanks, good night” the band
are gone, and fortunately only a few, half-hearted cheers are required to get
the group back on stage, the rest of the crowd still in “Impress us” mode. (The
Birthday Party gig at the same venue the previous November “descended into
chaos” according to fromthearchives.com, with “Nick jumping from the low stage to
fight with a member of the audience”). Lights,
the fourth track to be played that evening from The Reptile House, is the first
encore, Gunn’s guitar mixed very low as Adams’ bass dominates the opening
verse. Eldritch slowly brings the song to its emotional climax before taking an
extravagant bow as they begin their last song, Gimme Shelter, which ends (as at most 1983 gigs) with just Adams
and Eldritch for the final chorus, before leaving the stage to appreciative
applause. As a decent quality visual and aural record of the
band at the top of their form in the original line-up, the video of the Night
Moves show is hard to beat, and cements its place in Sisters’ folklore. By the
time the band returned to Scotland the following year, they had outgrown such
small venues and had a new setlist of songs that would form the basis of FALAA,
shorn of many of the earlier, punkier classics.
According to
Rob C, Night Moves had been the Piccadilly Club around WWII the White Elephant
club, but a criminal fire one night when the club was packed in 1977 saw it
fully refurbished and relaunched as the Roseland in 1978. After Night
Moves, it became (appropriately, given its location). Rooftops in about 1986 and
continued with similar types of gigs, eg XMal, Ghost Dance, The Rose Of
Avalanche, The Stone Roses and Batfish Boys all played there. Effectively layout
and decor-wise it was exactly the same. It was rebranded as the more mianstream Moon Nite Club for many years until
finally closing as a club earlier this millennium.
As ever, huge thanks to all who have contributed to
this post, but particularly to Rob C for sharing both his memories of the gig
and his research on the venue, including making a special trip to take some of
the photos. Cheers, Rob!
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