GAVIN FRIDAY

Gavin Friday’s highly anticipated return to the stage at De Vooruit in Ghent on April 1, 2025, was nothing short of mesmerizing. Promoting Ecce Homo, his first album in 13 years, Friday delivered a performance that was both intimate and theatrical, reaffirming his status as one of music’s most enigmatic artists. The anticipation in the concert hall was palpable as fans gathered to witness the return of the former Virgin Prunes frontman.

The venue, known for its rich history and intimate atmosphere, provided the perfect backdrop for an evening that was both nostalgic and forward-looking. Or, as Friday himself wryly put it somewhere between two songs, smiling: 'The almost perfect... erm… should we say… erm… ‘Gothic’ venue...'

From the moment the lights dimmed and the opening chords of the intro and Lovesubzero rang out, most of the audience was captivated. I say most because I could see some old-school fans still wrestling with the four-to-the-floor beats of the first few tracks from Ecce Homo. But they didn’t have to worry for long—the setlist spanned his decades-long career, seamlessly weaving together new material with solo classics and several unmistakable nods (and more) to his Virgin Prunes roots.

After a sublime performance of the title track Ecce Homo, Friday confessed to the audience that he had gone to church that day—to pray, but in his own way. As he spoke, The Church of Love kicked in, backed by a strikingly colorful curtain of light beams unmistakably resembling the rainbow flag. More than once, Friday balanced on a thin line between Electro-Gothic and gay disco, reminiscent of acts like Soft Cell and Erasure.

Whether delivering synth-driven anthems or melancholic ballads like Apologia, his voice carried an emotional weight that resonated through the hall. Now and then, he would sit at a small table on the right side of the stage, set with a glass and bottle of white wine, simply savoring the moment—his drink, the audience, or the mastery of his musicians. After the final notes of Apologia faded away, he stood up and repeated, 'There’s not enough glitter in this world.' And then—Bam! The unmistakable theme of Gary Glitter’s Rock & Roll boomed from the speakers, seamlessly transitioning into Lady Esquire.

Another standout moment came when Friday’s multi-instrumentalist vocalist—dressed as a nun—helped him transform his suit into a post-apocalyptic, shredded outfit. He then announced the next song as 'A New Form of Beauty… Part 1', an early Virgin Prunes track (Sandpaper Lullabye, 1981). The haunting duet between Friday and his versatile bandmate was nothing short of breathtaking—goosebumps!

But that was not even the highlight! Moments later, an almost dystopian industrial version of Caucasian Walk blasted from the speakers. 'Like a crazy singer in a band that’s lost the words,' he chanted, dancing wildly across the stage, his arms and hands moving theatrically. And suddenly, I realized again where those iconic gothic ’80s and ’90s dance-floor moves had truly originated.

He closed his mesmerizing performance with a sublime rendition of King of Trash from his 1992 album Adam ‘n’ Eve, followed by When the World Was Young, an ode to his lifelong friendship with Bono and ex-Virgin Prunes bandmate Guggi.

Under thunderous applause, the band returned for an encore, treating the audience to more spectacular moments, including the danceable, pop-infused Cabarotica and his dark, spellbinding interpretation of London Bridge Is Falling Down, the traditional English nursery rhyme.

Friday’s ability to engage his audience was striking. Stepping to the edge of the stage—and at times into the crowd—he broke down the barrier between performer and spectator, making each moment feel deeply personal. Backed by a tight-knit band, his performance shifted effortlessly between dramatic, cabaret-inspired storytelling and bursts of post-punk energy. The lighting design, moving from stark monochrome to vivid hues, further enhanced the emotional depth of the evening.

As the night drew to a close, it became clear that this was more than just a comeback; it was a statement—a reaffirmation of his artistic vitality. Gavin Friday remains a master of reinvention, and his performance at De Vooruit was a testament to his enduring ability to enthrall, challenge, and move his audience.

Gavin Friday @ Vooruit - 01/04 - Set-list

Lovesubzero
Ecce Homo
The Church of Love
Stations of the Cross
Apologia
Lady Esquire
Amaranthus (Loves Lies Bleeding)
Lamento
Sandpaper Lullaby
Caucasian Walk
King of Trash
When the World Was Young

Encore:
When the World Was Young (reprise)
London Bridge is Falling Down
Cabarotica
Daze
Angel

Check our wonderful photo-report by Luc Luyten / Who Cares here!

Fred GADGET
22/04/2025