Mention Adam Ant (born Stuart Goddard) or Adam and the Ants to someone today and they will likely have polarized reactions – whether friend or foe (couldn’t resist that). While Adam Ant’s music and flamboyant stage manner was decidedly not for everyone, most look back at his whimsical themes with great affection, recalling his powerful tribal music and riveting live stagecraft. More dedicated fans embraced Adam’s many personas, his passionate, sometimes fetishistic homages to pirates, highwaymen, Cowboys, American Indians, and other colorful macho characters. His popular work drove nearly a dozen singles to the top of the charts, sustaining a musical career that began in 1977 and peaked in 1985. We caught him February 3, 2017 in Seattle for what was an exciting return to form, as Adam and band tore through a set list that featured the entire Ants breakthrough record Kings of the Wild Frontier.
Adam Ant began his music career during the dawn of punk rock, casting about for a record deal until the formation of Adam and the Ants and debut release Dirk Wears White Sox (1979). After that freshman outing, Adam signed on with producer Malcolm McLaren, who promptly convinced the band to defect and form Bow Wow Wow with singer Annabella Lwin. McLaren had acquired a fascinating tape from Africa of native Burundi drummers; a powerful exuberant tribal sound that fuelled both Bow Wow Wow and Adam’s quickly reconstituted Ants. Marco Pirroni, an ex-member of Siouxsie and the Banshees joined the Ants, becoming Adam’s collaborator and guitarist for the remainder of his 80s heyday.
The new band released a second album, Kings of the Wild Frontier in 1980 which went to number one in the UK, establishing the basis of the ever-evolving sound that Adam popularized for the next five years. While retaining the raw verve of its punk rock predecessor, Kings ventured into wild new territory with stunning results. Tribal sounds driven by a pair of drummers mixed with Ennio Morricone inspired tremolo guitars, chants and yodels abound. The lyric “I feel beneath the white there is a red skin suffering from centuries of taming” typify Adam’s themes, which most frequently alternate between tales of warrior heroes and ruminations on fame and the press. The album launched many of Adam’s enduring themes and his iconic look; leather clad punk below the waist, colonial pirate above.
Ever the change artist, Adam morphed the Kings sound and fashion over the next several albums, as he released and toured for one more Ants record Prince Charming (1981) then solo albums Friend or Foe (1982), Strip (1983) and Viva Le Rock (1985). After this string of successes, he took a lower profile musically, appearing in public less frequently. There would be two more albums in the 90s, but recording gave way to a career in film and television. With Adam’s autobiography in 2006, the public learned of his lifelong struggles with bipolar disorder, something that had been clear from based on bits of press over the years. Adam revitalized his music career earlier this decade, performing one-offs and short tours since this rebirth, including one new album. We saw the first part of this comeback a few of years ago in San Francisco – on that particular night, a decidedly mixed affair that was unfortunately not on par with his original concerts. But this time, last week in Seattle, Adam looked his old self and was absolutely on top of his game in every way.
The set list focused on Kings, which was performed in sequence, To this Adam added a few B-sides, including fan favorites “Beat My Guest” and “Christian Dior,” a couple from his first album, the title track of Prince Charming along with “Stand and Deliver,” and several others including the hit “Goody Two Shoes,” and popular numbers “Desperate But Not Serious,” and “Vive Le Rock.” The final song, as has been true on several tours, was “Physical” a single that appeared on the U.S. version of Kings. While the two level staging and lighting was simple, the four-piece band (two drummers, bass, and guitar) was fantastic. The tragic passing of Tom Edwards, Adam’s bandleader and guitarist for this tour forced the postponement of a few shows just before our date in Seattle. Will Crewsdon, who played in Adam’s band in in the past rejoined and was well rehearsed by this third night out. As good as they were, the focus was appropriately on Adam, who was back to his sexed-up dance moves, playful phrasing, and clear soaring vocals, which showed no signs of strain during the performance. Fans deliriously sang along to many of the songs, particularly when Adam beckoned them on for “Prince Charming.” My favorite, “Killer in the Home” was worth the admission, the wait and the dedication to this artist, once again at home on stage. Catch him if you can, noble human beings.