6th and 7th October 2018

Most will realise by now that I consider OMD to be one of the best live acts around at the moment, particularly when compared to some of their ‘80s contemporaries. And these two gigs- the second time the band has performed with the Liverpool Philharmonic Orchestra- cemented this fact, despite the differences between these concerts and a ‘usual’ OMD gig. On tour or at festivals the general opinion is that it’s the band’s energy (particularly lead singer Andy McCluskey’s performance and ability to hold an audience) that makes them stand out from the crowd. These two concerts, on the other hand, showed us a different side to OMD, and whilst there was admittedly the occasional bout of ‘windmill dancing’ from McCluskey (and indeed certain audience members during the second half), the primary focuses were the songs themselves and their intricate orchestral arrangements.

One of the most interesting things about the set was the changing dynamics between and within the two halves, and in particular the emotional effect that this had on the audience. Certain tracks from the first half (where the ‘obscure’ songs were nestled) like ‘Stanlow’, ‘Sealand’ and the stunning ‘Ghost Star’ left most of us reaching for tissues, whilst the breezy realism of ‘90s b-side ‘The New Dark Age’ and the moving effortlessness of ‘The View From Here’ were both transformed into something strangely uplifting.

If the first half was for the hardcore OMD fans, with its ambient album tracks and brand new instrumental ‘The Daughter of the Minotaur’ (possibly the highlight of the evening), then the second half was probably more to the taste of a casual listener.

Saying that, whilst we were presented with some hits and better-known songs (‘Enola Gay’, ‘Talking Loud and Clear’ (complete with McCluskey messing up the lyrics on the first night), ‘Messages’ and ‘Souvenir’ to name just a few), we were also treated to ‘All That Glitters’- a heart-wrenching ballad from 1991’s ‘Sugar Tax’ album’- and ‘The Native Daughters of the Golden West’ from 1985’s ‘Crush’. The latter in particular was clearly one of the audience’s favourites on the Saturday night, erupting into cheers as McCluskey belted out the final note that he had been ‘dreading for months’.

From that point onwards the atmosphere became significantly more relaxed and once people started standing up, it finally became recognisable as an OMD gig.

From what I have seen so far the concerts have received no bad reviews, and rightly so; not only did they prove that McCluskey and Humphreys have more than earned the title of ‘the Lennon and McCartney of synth pop’, but also that, as OMD, they are relevant as ever.

Let’s hope McCluskey keeps to his promise and that OMD will return with more orchestral gigs in the not-so-distant future.

 Imogen Bebb‎ 

Orchestral Manoeuvres in the Dark - Pretending To See The Future

The book contains a commentary from OMD founders Andy McCluskey and Paul Humphreys and is packed full of fan memorabilia and hundreds of photos. With many images in full colour and previously unseen pictures from the bands own archive, this is the OMD story as it's never been told before.

Told in the first person, Pretending To See The Future is an oral history of OMD, mixing hundreds of fan anecdotes with memories from the band, their collaborators, other musicians and celebrity admirers garnered from 40 years of recording and performing.

The book contains commentary from OMD founders Andy McCluskey and Paul Humphreys, plus band members Martin Cooper, Malcolm Holmes and Stuart Kershaw, and is packed full of memorabilia and hundreds of photos. With many images in full colour and previously unseen pictures from the band’s own archive, this is the OMD story as it’s never been told before.

Contributors include:

Professor Brian Cox
Gary Numan
Phil Oakey
Stephen Morris
Jeremy Vine
Steve Lamacq
Richard Blade
Adam Clayton
Howard Jones
Peter Saville
Karl Bartos
John Dowie
Vince Clarke

2018 marks the 40th anniversary of one of the world's most popular electronic bands, Orchestral Manoeuvres in the Dark. Pretending To See The Future is the first official OMD biography since 1987's Messages. Taking the reader on a journey from their Merseyside beginnings via debut single `Electricity' (released on Manchester's iconic Factory label) into the 1980s and a string of Top 40 hits that includes `Enola Gay', `Souvenir', `Joan of Arc', `Locomotion' and US smash `If You Leave',

the book also covers the band's break up in the 1990s and their triumphant return in 2006. The book contains a commentary from OMD founders Andy McCluskey and Paul Humphreys and is packed full of fan memorabilia and hundreds of photos. With many images in full colour and previously unseen pictures from the bands own archive, this is the OMD story as it's never been told before.

You can now purchase the book on Amazon by following THIS LINK

Interviews by both Andy and Paul have been shown on Vintage TV once again. 

Interview with Nigel Ipinson , Nigel Ipinson-Fleming who talks about Rock and Roll to Redemption. Nigel Spent time with Orchestral Manoeuvres in the Dark and co wrote the single Walking on the Milky Way .

He was also in The Stone Roses, and has worked with the likes of Hot Chocolate . The interviews cover his life journey from Rock and Roll to church pastor. Nigel is now living in Bristol.

He first appeared in the group Juvenile Jazz, which won a 1987 BBC TV talent contest on Saturday Superstore called "Search for a Superstar" and we hear about those early days.

We took your questions and we asked them.
This is a up close and personal interview with Andy 

Welcome to Motion and Heart the fan site for Orchestral Manoeuvres In The Dark
For past news items, please visit OUR NEWS PAGE

In 2009 we gave the Motion and Heart site and a brand new look, that we hope you like. Please take your time to explore all of our sections, we have hours of browsing for you.

Please be sure to visit the Motion and Heart Forum found HERE, and for news and updates as we have them consider joining our free mailing list.