Photo by James A. Broscheid
The enduring architectural majesty of The Chameleons’ sound has finally found its moment of spectacular resurgence. The legendary Middleton, England (now) quintet, forged in the crucible of the early 1980s, is not merely content with the release of ‘Arctic Moon’ (Metropolis), their first studio album in over two decades, but has embarked on a rigorous, exhilarating period of touring that is both a gratifying communion for the seasoned aficionados and a revelation for newly initiated listeners.
Despite the profound and pervasive influence they have exerted upon countless successive bands, my own appreciation of The Chameleons’ prodigious catalogue had, until their recent and relentless touring schedule in the U.S. had been strictly confined to their recorded works. The opportunity to witness their kinetic power in person arrived as they anchored the Arctic Moon Tour at the equally venerable Crocodile in Seattle.
This current incarnation, re-established in 2021, is helmed by the commanding, yet intimate, presence of bassist and vocalist Vox (Mark Burgess) and original guitarist Reg Smithies, augmented by the formidable talents of Stephen Rice on guitar, Danny Ashberry on keyboards/bass, and Todd Demma on drums. Taking the headlining slot of the evening, The Chameleons instantly elevated the atmosphere to a palpable fever pitch. Their entry was heralded by the propulsive urgency of “Where Are You ?,” the opening track from the ‘Arctic Moon’, before seamlessly transitioning into the post-punk anthem “The Fan And The Bellows” from 1986. To hear a composition like “The Fan & The Bellows,”—a song whose origins predate their major label debut—reinvigorated and performed live, felt like a deliberate act of historical restoration, especially when blended perfectly with new tracks like the opener and “Lady Strange.” Both cuts retaining an astonishing sense of sonic freshness.
For a band whose foundational works carry such substantial historical weight, there is a pervasive temptation to lapse into rote, museological performance. Crucially, The Chameleons resisted this inertia with a palpable, almost defiant, energy. As Vox moved with an understated, almost shimmied grace between vocal passages, the interplay between Smithies and Rice was genuinely infectious, manifesting a joy that radiated outward. In fact, talk to anyone who witnessed The Chameleons live over the course of their first three albums and they universally agree the band has not sounded any better than they do today. New tracks “Feels Like the End of the World” and “Saviours Are a Dangerous Thing” in all their poignancy nestled flawlessly amongst a set list including “Perfume Garden”, “In Answer”, “Looking Inwardly”, and “Second Skin” highlight just how stout the new material is alongside works that made us fall in love with The Chameleons in the first place.
The vitality of the band’s current configuration was underscored by the inclusion of material from last year’s Tomorrow Remember Yesterday EP, which saw the recent lineup re-record older, previously compiled tracks. Indeed, The Chameleons remain, as many critics have long asserted, among the most tragically underrated bands of the 1980s. Yet, their sound is not merely preserved; it is every bit as vital and relevant now as it was at its genesis.
The band’s deep-seated musical rapport was beautifully evident during “Swamp Thing,” where Vox turned toward Demma, the bassist and drummer locked in a symbiotic rhythmic conversation that constituted the very heart of the groove.
As the set drew to a close, Ashberry momentarily relieved Vox of his bass duties, allowing the frontman to fully inhabit the poignant, dedicatory lines of “Second Skin.” The formal set culminated with the essential “Don’t Fall,” prompting many of us to pinch ourselves to confirm what we are witnessing is indeed happening. There was a complete absence of pretension or affected grandeur in the band’s demeanor; only a warm, unvarnished honesty pervaded their presentation, all warmly welcomed by the crowd as Vox introduced them. The fervent, emotional reception from the audience transformed the initial feeling of familiar comfort into something overwhelmingly and resoundingly positive.
The Chameleons’ tour is not a nostalgic revisit, but a demonstration of their enduring and undiminished creative power with the release of a new record the equally rises to the occasion.
Please visit the band’s website for more information.
Arctic Moon Tour Dates
October 18 – Soundedit Festival – WYTWÓRNIA, Lodz Poland
October 29 – De Kreun – Kortrijk, Belgium
October 30 – Das Bett – Frankfurt, Germany
October 31 – Lido – Berlin, Germany
November 1 – Faust – Hannover, Germany
November 2 – Knust – Hamburg, Germany
November 3 – Zeche – Bochum, Germany
November 5 – Victorie – Alkmaar, Holland
November 6 – De Bosuil – Weert, Holland
November 7 – Entrepot – Arlon, Belgium
November 8 – Nobel – Leiden, Holland
November 12 – Concorde 2 – Brighton, UK
November 13 – 1865 – Southampton, UK
November 14 – Electric Ballroom – 184 Camden High St, London, UK
November 15 – Bristol Trinity – Bristol, UK
November 16 – XOYO – Birmingham, UK
November 17 – Rescue Rooms – Nottingham, UK
November 19 – Glasgow Garage – Glasgow, UK
November 20 – The Grand – Clitheroe, UK
November 21 – Albert Hall – Manchester, UK
November 22 – Camp & Furnace – Liverpool, UK
November 23 – Old Woollen – Leeds, UK
December 4 – Cabaret Vauban – Brest, France
December 5 – Hydrophone – Lorient, France
December 6 – Élysée Montmartre – Paris, FR
December 14 – Halifax Goth Festival – Halifax Minster – Halifax, UK
