Whereas guitarist Midge Ure was a member of Visage and was briefly in an early model of Skinny Lizzy, he’s greatest generally known as the entrance man of the British power-prog band Ultravox.

Ure has loved an energetic solo profession since Ultravox break up three a long time in the past, and the current three-CD/three-LP Royal Albert Corridor 04-10-23 is a radical overview of his profession, together with a efficiency of the complete 1980 Ultravox album Vienna.

Ure turned 70 in the identical month the live performance was recorded, however that was unplanned and different concert events have been being recorded throughout his Voice and Visions tour

“It wasn’t till the tour was nearing an finish that the thought of the birthday live performance was born,” he stated.“Today, you may report as many exhibits as you want [on] digital mixing desks. The issue is discovering time or enthusiasm to take heed to all of them.”

He didn’t anticipate that exact present as an possibility, as a consequence of bills.

“I actually didn’t know we have been recording it,” he stated. “There’s an enormous price to video or report within the Royal Albert Corridor, so it got here as a shock to seek out we had captured that tremendous night. A deal was struck with the venue and that is the outcome.”

The live performance opened with a primarily acoustic set that contains the primary CD. The second consists of Vienna and different fan favorites with Ure supported by his backing aggregation, Band Electronica, with Cole Stacey on bass, Joseph O’Keefe enjoying keyboards, and Russell Subject utilizing digital drums. Stacey performed mandolin on “Weapons and Arrows.”

Visitor musicians for the present have been pianist Ty Unwin and cellist Caroline Dale.

“The songs have been a mixture of the earlier two excursions, together with the complete Vienna album. I needed to incorporate that, as Ultravox by no means managed to carry out at Royal Albert. The acoustic or cello Viking songs needed to be organized, after all, however the sensible Ty Unwin, who organized my Orchestrated album, did these for me.”

Ure admitted that deciding on the suitable songs from the assorted eras of his profession was an arduous course of.

“It took some time, a lot to the poor musicians’ annoyance,” he stated. “However I needed to play a few of the deeper songs alongside the commercially profitable hits.”

Ure mentioned the devices he performed on the live performance.

“I’ve a pair of matched limited-edition Taylors that I used to be given in Germany a few years in the past. They’re one of the best acoustics I’ve ever owned, not simply because they sound nice, however they’ve nice electronics and one of the best necks ever.”

He performed one in every of his signature Classic V100MU fashions and a Stratocaster he’s had since his Ultravox days.

“I had an ebony fretboard fitted with extensive, Gibson-like frets, so it’s utterly black.”

Requested which track had the most-unique association for the live performance, he zeroed in on the title monitor from his fourth solo album, launched in 1996.

“I used to be more than happy with ‘Breathe’ – a really stripped-down acoustic association however nonetheless had a way of drama.”

Now a septuagenarian, his voice, whereas nonetheless robust, sounds completely different to longtime followers.

“Vocal cords age the identical approach and on the identical velocity as the whole lot else, so it has matured and breaks somewhere else. It’s additionally not as pure, however that’s one thing you earn.”

Extra touring is within the offing for the UK and Europe in 2025. And whereas a canopy of a Skinny Lizzy track doesn’t seem on 04-10-23, that’s not the case now.

“On the present tour, I’m touching areas I’ve by no means delved into, and that features ‘The Boys Are Again In City.’”

10-4-23 opens and closes with songs that allude to spirituality – “Expensive God” begins the live performance whereas “Hymn” concludes it – however their placement doesn’t have hidden that means.

“I’ve my opinions on what folks do within the title of mounted religions and I write so much about it, however that was nothing intentional.” – Willie G. Moseley

This text initially appeared in VG’s March 2025 problem. All copyrights are by the creator and Classic Guitar journal. Unauthorized replication or use is strictly prohibited.