Latest news with #AlisonMoyet
Yahoo
04-06-2025
- Entertainment
- Yahoo
'80s Pop Icon, 63, Puts Major Glow-Up on Display: 'She Has Aged Beautifully'
'80s Pop Icon, 63, Puts Major Glow-Up on Display: 'She Has Aged Beautifully' originally appeared on Parade. Alison Moyet, 63, has never looked (or sounded) better. The '80s icon, often referred to as 'the female David Bowie,' dazzled fans on her recent European tour—and it wasn't just her rich, bluesy voice. The former Yaz (Yazoo in Europe) lead singer's appearance had fans doing a double a video shared to TikTok, the Situation songstress sported a form-fitting, long-sleeve black top and skirt, which showcased her shoulder-length deep red hair. Moyet put her 1980s-inspired dance moves to the test as she moved her svelte body around the stage, grooving as if no time had passed since the hit song came out in 1982. Moyet's unique, emotive voice has always set her apart from the rest. Her raw, unfiltered, bluesy sound is undeniable. There is no mistaking Alison Moyet's voice for timeless voice was only slightly eclipsed by her age-defying demeanor. Naturally, fans took note. One wrote, 'How after all these is she now looking in her prime ❤️' We were wondering the same thing. Some fans weren't as gracious about the quality of Monet's singing voice. Video from another tour date from Moyet's tour begs to differ. To the fan who wrote, "She has aged beautifully," we're with you. 🎬SIGN UP for Parade's Daily newsletter to get the latest pop culture news & celebrity interviews delivered right to your inbox🎬 '80s Pop Icon, 63, Puts Major Glow-Up on Display: 'She Has Aged Beautifully' first appeared on Parade on Jun 2, 2025 This story was originally reported by Parade on Jun 2, 2025, where it first appeared.
News.com.au
02-06-2025
- Entertainment
- News.com.au
One shouted word ruins the vibe at star's otherwise-stunning Sydney concert
One shouted word from a heckler was all it took to momentarily kill the vibe during British singer Alison Moyet's Sydney show over the weekend. Moyet, 63, is touring to mark the 40th anniversary of her solo career – a career that started even before that, as one-half of the chart-topping electro duo Yazoo (of Only You fame) in the early 80s. Moyet, though, has always bristled at any notion she's a heritage act, only here to play 80s retro circuit – and her musical output has long backed that up. Perhaps her finest work, 2002's Hometime, arrived shortly after she'd turned 40; in recent years, a fruitful collaboration with producer Guy Sigsworth saw her return to her edgy electro roots across two stellar albums. Songs from 1982 to 2024 got an airing during Saturday's near-sold-out show at Sydney's Darling Harbour Theatre. Moyet was in fine voice throughout, and was charming, frequently hilarious company, stopping to sip tea between songs and offer self-effacing stories from throughout her life. After one cheer from the dark, she made a confession: In-ear monitors meant she could never really hear anything audience members yelled at her during gigs, and therefore interpreted all muffled noise only as praise. It's just as well, because about half a dozen songs into the show, a lone heckle began. 'EIGHTIES!' one man yelled, filling the brief silence between songs. And again, echoing through the theatre a couple of songs later: 'EIGHTIES!' Not even a 'play the hits,' or 'sing Only You ' (which she did, by the way). Just a barked, one-word order, reducing an artist's 40-plus-year career to the brief period several decades ago when she was a twenty-something, radio-ready pop star: EIGHTIES. Thank god she didn't hear it – but the rest of us did, and it momentarily soured the atmosphere at an otherwise stunning show, as fans lapped up a precious two hours with an artist who visits our shores all too rarely. And as the concert wore on, guess what happened? Moyet did sing the eighties hits, delivering Yazoo bangers Situation and Don't Go, along with her classic debut solo single, Love Resurrection, during an encore set that had the audience out of their seats and rushing to the front of the stage to form an impromptu dance floor. It's almost like she … knows how to structure her set, sending the show out on a high with her best-known songs rather than burning through them early? This entitled, 'just play the hits' attitude is common here in Australia. In 2023, the Red Hot Chili Peppers copped a fierce audience backlash when they dared leave Under The Bridge off the setlist during one of their Aussie stadium shows. resident RHCP superfan Jasmine Kazlauskasan leapt in to give an impassioned defence of the band amid a backlash that saw some concertgoers declare they'd never see them live again. More recently, Kylie Minogue's latest tour made its world debut here in Australia amid complaints from some fans that she was playing too much new material – and from others, that she wasn't playing enough. Moyet had even tried to tackle the issue head-on at the top of Saturday's show, warning the audience that a setlist comprised solely of faithful renditions of her early material would feel like 'bad karaoke' – something that holds no interest for her as an artist. Perhaps her heckler would've been better off staying home and doing some 'bad karaoke' of the 80s hits he was only interested in hearing.
Forbes
03-05-2025
- Entertainment
- Forbes
Alison Moyet Celebrates Her 40-Year Solo Career At N.Y.C. Concert
Alison Moyet When the British singer Alison Moyet released her debut solo album Alf in 1984, it initially appeared daunting. At the time, she had severed her musical partnership with keyboardist Vince Clarke in Yazoo, which had achieved major U.K. success with their first two synthpop albums Upstairs at Eric's and You and Me Both and such hits as 'Only You' and 'Nobody's Diary.' But any concerns or questions of whether Moyet could succeed on her own after Yazoo's brief career were immediately allayed: Alf became a hit and kick-started an acclaimed career incorporating genres such as sophisticated pop, jazz and blue-eyed soul in addition to synthpop. To commemorate her 40 years as a solo artist, Moyet released her 10th studio album, Key, last October. That record featured reworkings of her well-known songs and deep cuts as well as new material. As Moyet indicated in a press statement about Key, she wanted 'to look at the trajectory of those decades and explore songs that, in their original form, were never fully realised or have had their relevance to me altered by time.' Alison Moyet at Webster Hall pn May 2, 2025. Alison Moyet at Webster Hall, May 2. That was also the focus of her current Key tour, which included a sold-out stop in New York City's Webster Hall on Friday. Supported by musicians Sean McGhee and Brendan Cox, Moyet presented a satisfying 90-minute overview of her solo music and a few Yazoo classics. Die-hard fans in the audience likely recognized certain songs from her rich catalog that were reimagined, such as 'Is This Love?' (which was rendered as a slow and smoldering ballad that contrasted with the very poppy original studio version from her 1987 Raindancing); 'Love Resurrection' (originallly from Alf and reinterpreted as a pulsating dance number); and 'It Won't Be Long' (a standout pop track from 1991's Hoodoo that was presented as an acoustic folk-country song). In addition to those popular songs, Moyet performed two new tracks from Key: the reflective 'Such Small Ale' and the eloquent 'The Impervious Me.' Alison Moyet at Webster Hall pn May 2, 2025. Of course, the only material not reworked for this show was from her time in Yazoo; they were in their original form from the lovely ballad 'Only You' and sublime 'Nobody's Diary' to the banging hypnotic dance numbers 'Situation' and 'Don't Go.' the latter closing the night on a high. Certainly, time had not diminished Moyet's rich and soulful voice since her Yazoo days—her performance of the anguished and haunting ballad 'This House' was a showstopping moment, in particular. Overall, she was in fine and commanding form at Webster Hall for a night to celebrate one of the most durable careers in pop music. Setlist: Fire More Such Small Ale Nobody's Diary The Impervious Me So Am I Can't Say It Like I Mean It This House Changeling Beautiful Gun Only You It Won't Be Long Dorothy Is This Love? All Signs of Life Footsteps All Cried Out Whispering Your Name Encore: Situation Love Resurrection Don't Go
Toronto Star
03-05-2025
- Entertainment
- Toronto Star
Electric Six, Alison Moyet, MJ Lenderman and more play Toronto
Horseshoe Tavern, 370 Queen St. W. Electric Six (Sat., 8:30 p.m.) Since releasing 'Fire,' their classic debut, in 2003, these ironic garage rockers (with early help from Jack White) have quietly — well, maybe not that quietly — released another 15 studio albums, comprising a fantastic, and often hilarious, body of work. Danforth Music Hall, 147 Danforth Ave. Alison Moyet (Mon., 7 p.m.) The venerable concert venue welcomes the voice behind Yaz's synth-duo classics 'Situation,' 'Don't Go' and 'Only You,' who's a terrific solo artist in her own right. MJ Lenderman and the Wind (Thurs., 7 p.m.) The indie-rock singer-guitarist tours his latest album, 'Manning Fireworks.' History, 1663 Queen St. E. Sharon Van Etten (Tues., 8 p.m.) With her backing band the Attachment Theory, the acclaimed American singer-songwriter purveys her brand of folky alt-rock. ARTICLE CONTINUES BELOW Phoenix Concert Theatre, 410 Sherbourne St. Lambrini Girls (Tues., 7 p.m.) The shouty British punk rockers deliver their abrasive, riot girrrl-inspired hits like 'Homewrecker' and 'Help Me I'm Gay.' Axis, 722 College St. Cheekface (Weds., 7 p.m.) The Los Angeles trio bring their quirky-cute indie pop to Little Italy. Lee's Palace, 529 Bloor St. W. Death From Above 1979 (Thurs., 7 p.m.) As part the club's 40th anniversary concerts, Toronto's legendary dance-noise duo celebrates nearly a quarter-century of making a racket.
Telegraph
12-03-2025
- Entertainment
- Telegraph
Alison Moyet: the trailblazer who beat a path for Adele proves she's still in the game
Toward the start of her appearance at a sold-out London Palladium on Tuesday night, Alison Moyet laid out her intentions for her show. Although the evening's entertainment, she explained, celebrated her four decades as a solo artist, the material picked for inclusion in the 21-song set would sound 'as if it was written in the same period'. There would be no succumbing to the easiest trappings of nostalgia here, thank you very much. There then came a dash of the kind of defiance – spikiness, even – that has distinguished her career. With barely a smile, the audience was told that it 'might disagree' with her description of the show – 'but it don't matter'. At its inspirational best, the 100-minute concert showed exactly why a superstar such as Adele owes Alison Moyet (at the very least) a lavish dinner and a spray of flowers. Now 63, her resonant voice – by turns towering and fibrous, strange and pliable – still possesses the kind of force that people flock to hear. Time and tide has not diminished it, or her. Displaying presence and authority, between songs, her informal and conversational manner was yet another quality that might well have provided an element of inspiration for a certain Tottenham-born singer who found fame via a trail blazed by this forebear. Without seeming to work up a sweat, her sense of control was impeccable. But there were problems, too. Backed only by a two-piece band (guitar and bass, mainly), the canned drums and numerous backing tracks used to fortify the live instruments lent the sound a brittle and thin quality. In a room such as the Palladium, the lack of wallop that could have been easily, and beneficially, provided by a full compliment of musicians was at times glaring. As well as sounding one-dimensional, at its worst, the swamp of electronica served to smother the very voice that more than 2,000 people had come to hear. Another thing, too: while no one in the stalls, or on the two balconies, expected the kind of racket served up by Motörhead, the volume was a bit too low. Sometimes, though, it worked. Having made her bones alongside former Depeche Mode songwriter Vince Clarke, as one half of Yazoo, the chilly minimalism of early-day bangers such as Only You and Don't Go (both raucously received) were served well by the sparse and metronomic nature of the arrangements. Elsewhere, too, hits such as Love Resurrection and All Cried Out, from 1984's more-than-million selling Alf album, proved that even partial facsimiles of live music can't keep a good song down. Neither did the technical chicanery prevent the evening as a whole from being charmingly breezy. Chatting away to the crowd, joking like a ditz, and baring teeth that remain pleasingly sharp – 'I do have a heart,' she said in the introduction to The Impervious Me. 'It's just that I don't care all that much' – Alison Moyet was easy to like and even easier to respect. There is of course a reason that every concert on her current 24-date UK tour is sold out, and why, unlike other female artists from the eighties (Hazel O'Connor, say), she is still held in considerable esteem. It's just a shame that in London the humanity of this most vivid of singers was obscured by synthetic adornments.
