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About Jimmy Somerville

Jimmy Somerville tour dates

Jimmy Somerville

Iconic singer and political debater, Somerville is the man with the unmistakable voice who fronted Bronski Beat and The Communards in the 80s with more...

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Past Events

Here are the most recent UK tour dates we had listed for Jimmy Somerville. Were you there?

  • Sep 10 2021 Leeds, Millennium Square 80s Classical 2021 Jimmy Somerville, Nik Kershaw, Go West, Carol Decker, John Parr
  • Sep 04 2021 London, Brockwell Park Mighty Hoopla 2021 Becky Hill, Cheryl, Absolute., Atomic Kitten, Betty Boo…
  • 2021 Aug 20 Aug 22 2021 Remenham (Nr. Henley), Temple Island Meadows Rewind Festival - South 2021 Jimmy Somerville, Billy Ocean, Queen Symphonic, Trevor Horn, Nik Kershaw…
  • 2021 Aug 06 Aug 08 2021 Macclesfield, Capesthorne Hall Rewind Festival - North 2021 Jimmy Somerville, Billy Ocean, Queen Symphonic, Trevor Horn, Roland Gift (Fine Young Cannibals)…
  • Jul 03 2020 Online / Streaming Events Let's Rock The Retro Festival presents 80sLockdownFest 2 Jimmy Somerville, OMD, Marc Almond, Wet Wet Wet, Tony Hadley…
  • Dec 13 2019 London, OVO Arena, Wembley Let's Rock The Retro Winter Tour Tony Hadley, Marc Almond, Jimmy Somerville, Nik Kershaw, Boney M…
  • Nov 29 2019 Motorpoint Arena Nottingham Let's Rock The Retro Winter Tour Tony Hadley, Marc Almond, Jimmy Somerville, Nik Kershaw, Boney M…
  • Sep 07 2019 Chelmsford, Hylands Park Let's Rock Essex Status Quo, Jimmy Somerville, Tony Hadley, Midge Ure, Go West!…
  • Jul 26 2019 Leeds, Millennium Square 80's Classical Jimmy Somerville, Howard Jones, Nik Kershaw, Johnny Hates Jazz, Carol Decker…
  • 2018 Aug 17 Aug 19 2018 Remenham (Nr. Henley), Temple Island Meadows Rewind Festival - South 2018 Kool & The Gang, OMD, Billy Ocean, Jimmy Somerville, Marc Almond…

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does jimmy somerville still tour

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Jimmy Somerville

WHERE ARE THEY NOW? Jimmy Somerville

80’s pop star, 90’s solo artist, what has happened to jimmy somerville you make us feel, mighty real, for nearly forty years, jimmy somerville has been in integral part of the british music scene. in the 1980’s as the lead singer in two groups and as a solo artist in the 1990’s. born in glasgow in 1961, james william somerville co-founded the group bronski beat in 1983 with steve bronski and larry steinbachek. the group debuted in 1984 with what would become their signature tune “ smalltown boy “, which made no.3 in the uk and charted top ten across europe and topped the us dance chart. it reached no.48 on the singles chart there..

Bronski Beat released their debut album “The Age Of Consent” in October and gained further chart hits with “Why?” (UK No.6) and “It Ain’t Necessarily So” (UK No.16). The album reached No.4 in the UK and has been Platinum certified for sales of over 300,000 copies. It climbed to No.36 in the US as well as following “Smalltown Boy” into the top ten across Europe and Canada. “Smalltown Boy” returned to the UK chart in 1991 reaching No.32 and again in 2013 making No.95. It has sold over 500,000 copies in the UK to date.

Soon after this initial success, Jimmy left the group and together with musician Richard Coles, formed The Communards. Their debut release “You Are My World” only made No.30 in the UK and the follow up “Disenchanted” did one better in January 1986 making No.29. It was their third single, a cover of Harold Melvin and the Blue Notes 1975 hit “ Don’t Leave Me This Way “, that finally found success topping the chart in four countries including the UK, where it ended up the biggest seller of 1986. The song made the top ten in fifteen countries and broke the US singles chart at No.40.

The band’s self-titled debut album was released in July and made No.7 in the UK as well as charting high across Europe and No.90 in The States. “So Cold The Night” was another top ten hit later the same year and a remix of “You Are My World” released at the beginning of 1987 climbed to No.21 in the UK as well as breaking the top 40 in many parts of Europe.

The communards were not just jimmy and richard, they employed two further musicians and singers with sally herbert and caroline buckley, who would later form the group banderas ( a previously featured where are they now ) and had a minor uk hit in 1991 with “this is your life”. writing and recording of the band’s second album was well under way by the time the remixed “you are my world” had been issued with the first single “tomorrow” being released in august 1987. the track made no.23 in the uk and mi-charted across europe. again, it was a cover version that would give the group their next big hit, this time the jackson five’s 1971 hit “ never can say goodbye ” which took the communards back into the top five in eleven countries and to no.51 in the us..

The second album “Red” equaled this position in the UK, also going Platinum status and No.93 in America. It peaked at No.3 in France gaining a Gold certificate for sales of over 200,000 copies there. Two further singles were lifted from the album, “For A Friend” (UK No.28) and “There’s More To Love” (UK No.20), both released in early 1988. And that was the end of The Communards! Coles and Somerville went their separate ways with Jimmy now focused on a musical career by himself.

Jimmy wasted no time at all and returned in 1989 with the song “Comment Te Dire Adieu”, a cover of Françoise Hardy’s 1968 French classic. Jimmy teamed up with musician and backing singer June Miles-Kingston and took the song to No.14 in the UK and No.3 in France, where it sold over 200,000 copies. It would be the prelude to Jimmy’s debut solo album “Read My Lips”, released in November that year.

Although sales were initially slow, things picked up pace dramatically in January 1990 with the release of the second single “ You Make Me Feel (Mighty Real) “, a cover of US disco singer Sylvester’s 1978 hit. Somerville took his version to No.5 in the UK, beating Sylvester’s 1978 chart high of No.8, which to date is the highest UK chart position attained by the song. “Read My Lips” would eventually sell over 100,000 copies there, gaining a Gold certification by The British Music Industry. A third single “Read My Lips (Enough Is Enough)” peaked at No.26 that Spring.

Somerville has released five studio albums since then as well as two highly successful greatest hits albums in 1990 and 2001. He achieved a second top ten hit in 1990 with “To Love Somebody” (UK No.8) and a top twenty hit with “Hurt So Good” in 1995, from his album “Dare To Love” (UK No.38). The lead single from the album, “Heartbeat”, had earlier topped the US dance chart and reached No.24 in the UK.

In 2015 Jimmy realised a long held dream of recording a disco album, taking him back to the music he grew up listening to. The album “Homage” included the singles “Back To Me” and “Travesty”. Jimmy announced “I’ve finally made the disco album I always wanted to and never thought I could”. Jimmy continues to play live and in 2020 he provided guest vocals on the single “I Wish You Well”, while he worked with Ravi Adelekan on “A Million Dreams” in 2022. He has been promoting reissues of both Communards albums recently that are now available on new vinyl pressings.

Jimmy Somerville 2018

Remind yourself of the awesome music and also stay in touch with Jimmy through his Website and his Facebook page.

Take a look at our other  Where Are They Now? posts or find out more  here .

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Interview: Jimmy Somerville Discos Back Into Our Hearts

Jimmy Somerville of Bronski Beat, The Communards and solo fame is back with a new album dropping Friday, March 6th. Homage is all disco and all brand new music. This gay icons distinguished voice and style really shine through in his new album. We hope he tours soon!

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Jimmy Somerville’s Homage

Earle Dutton: Are you excited about the new album? Jimmy Somerville: Yes it’s something completely different. It is a whole new place to be musically. It is really exciting.

ED: There is so much new music and electronica. What made you decide to do a disco album? JS: I guess because I’ve done some of my own interpretations and covers of so many disco songs. I’ve taken them out of their own context and put them in mine. I just kind of put them in a gay context or more politically gay friendly context. So with this album I really wanted to explore the genre and the whole process of making such an album. I wanted to stick as close as possible to the way it would’ve originally been done so there are no electronics and no synthesizers. The entire album is all acoustic and real. It was a really great experience.

ED: I have loved your music with The Communards, Bronski Beat and as a solo artist. I am not sure all of our readers have followed you that long. What would you like to tell them that you have been up to all of these years since your last album? JS: You know, living my life and getting along with stuff. I’ve still been creating music just more low-key. I would produce stuff but I wouldn’t really think about promoting it or doing anything around it. I kind of elected to just let them have a life of their own. This project was so different and so special that I decided to promote it and put it out there and to do all the things necessary to get people to be aware of it and listen to it. I think it’s a great album.

ED: Do you have a favorite song on the album? JS: No. I don’t really pick favorites because everything changes every day, especially music. I just love music so much. Often I’ll fall in love with a song for just the day and that will be the song of the day or maybe even longer. Then I’ll discover something else and love that. All of them get some love and attention at some point (laughter).

ED: What is your process? How do you personally choose what songs go on an album? JS: This process was really different. We just started arranging the songs and it just became apparent that they were working really well together. It was all about getting excited about the music. It was a process of really connecting to each track. (Video below for “Travesty” the first single from Homage )

ED: I know that this album is just coming out, but do you have a new album or project in mind? JS: I’ve already written the songs for the next album and they are just waiting to go. It is very interesting because this next album is similar but completely different from this one. It almost seems like a genre of music that would’ve come before disco. It is more paired down. It is all acoustic and really going back to basics. It has been an interesting process. I think I’m really reconnecting to all the sounds that I really loved, that for some reason I’ve always managed to pass by. I am really indulging in it and exploring them and myself. I’m discovering my real musical roots. It’s late in the day but it is better late than never.

ED: Are you going to tour America? JS: I would love to do some live stuff. The great thing about this genre is its flexibility. You can have a big band or a small one because it’s all about the live experience, the acoustic experience. You can take a couple of horns and a couple of strings and do it any way you want. The production of this album was all about the energy, talent and love that everyone put in it. The musicians really gave it a life of its own. It was a really exciting experience.

ED: How do you think this tour would differ from a Bronski Beat or Communards tour? JS: It would be very different because I’m not 26 years old any more (laughter). I have a lot more life experience behind my vocal cords now. I’ve a much more relaxed and stronger understanding of who I am and where my gifts are with my voice. I feel a stronger connection to it than I ever did before. It’s a different time, place and a very different me. I have the same energy, the same passionate belief and the same conviction as before though.

ED: Was it a surprise when Richard Coles your partner in The Communards became a priest? JS: At the time I was pretty much (umm) okay. I didn’t know Richard well enough to realize how dark or desperate it gotten for him. He changed his life and it sort of saved him and brought him back from the brink. If becoming a priest is what did it for him, then thank God for that because it saved his life. That is the most important thing. I don’t really think about it that much anymore. At the time, I was very angry and rallied against it. It didn’t fit into my beliefs at the time.

ED: How does it feel to have your hit song “Smalltown Boy” still be so lyrically relevant after 30 years? JS: I’m so proud. It really is more than just a song. I think people get a real heartfelt and genuine connection from it. It taps into people’s emotional state. I get a lot of letters and comments from people stating how it changed their life or got them through some tough situation. It is a lot more than just saying I love that song and I used to dance that song. To be a part of the group that created the song is amazing. It has not been my song for really long time it is in its own universe and sending out love. That is how I see it. (Video below for “Smalltown Boy” by Bronski Beat)

ED: You are known for doing some really amazing covers. Do you currently have a favorite? JS: Not really, sometimes when I’m singing one I may connect with it more than others. (Laughter) There was a period that whenever I sang “Never Can Say Goodbye” I would think that I wish the song would just go fuck off (laughter). Then a little while later I would connect with the melody again and really love singing it. It just comes and goes like everything we do. There have been some real ups and downs with me. Some of the songs have seen me at my very lowest and even at my highest points. They have seen me through a lot of things. Some of them are really more than songs. I have really always loved singing the beginning of “Mighty Real”. When I perform it live, I take the epilogue version from album and do a 30 or 40 second really slow and spiritual intro. Then I carry on the really long note and just blow your ears off.

ED: Were your musical influence is growing up? JS: Wow, they are so varied. I grew up with lots of music and a hunger for new music. I wanted to listen to anything and everything. A really cool and cherished thing that I just bought is the 12 inch pink vinyl version of Dolly Parton’s “Baby I’m Burnin’”. On the sleeve is Dolly Parton on the swing and it says ‘Disco with Dolly’. It really couldn’t get any better. As a kid I listened to: Dolly Parton; Connie Francis; Peggy Lee; Nina Simone; Nina Hagen; David Burns; Donna Summers; Sylvester; The Temptations; Diana Ross; Tony Bennett; Bill Haley & the Comets; and everything in between. Strangely enough, I’ve never really been a fan of Elvis Presley or the Beatles. I don’t really know why.

Jimmy Somerville equality365.com

ED: What are your thoughts about marriage equality spreading across Europe? JS: I think marriage equality is a basic right that everyone is entitled. If you’re in a democracy then you should have the same rights as everyone else in that democracy. You should not be discriminated against because of the color of your skin color, sexuality or gender. I can’t believe we still live in democracies where people are discriminated against.

ED: Do you have a message you’d like to send out to LGBTQ youth? JS: Life is hard. I can’t even pretend to tell you that there is a yellow brick road, because there is no fucking yellow brick road. It is really about your journey and believing in yourself. It is about doing the right thing and being honest. It’s also about finding out who you are. I think it really helps to reach out and connect with people similar to yourself to become a stronger voice. I really think that can help you survive and thrive.

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Earle Dutton

Earle Dutton is the Chief Blogger and Editor of Equality365.com. He founded Equality365.com in 2013 to provide information about LGBTQ friendly events of interest, and to support LGBTQ entertainers and supportive artists who visit our community. Earle is a successful businessman in the Pacific Northwest with a long history of support for and involvement in, the Northwest LGBTQ community. His personal interests include: music, theater, pets, culinary arts and technology.

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does jimmy somerville still tour

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Jimmy Somerville Concert Setlists & Tour Dates

Jimmy somerville at rewind festival england 2021.

  • You Make Me Feel (Mighty Real)
  • So Cold the Night
  • For a Friend
  • Smalltown Boy
  • Never Can Say Goodbye
  • You Are My World
  • Don't Leave Me This Way
  • I Feel Love / Highway to Hell
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Jimmy Somerville at Rewind North 2021

Jimmy somerville at let’s rock christmas – the retro show 2019, jimmy somerville at electric dreams weekender 2019, jimmy somerville at retro winter tour 2019, jimmy somerville at 80s classical london 2019, jimmy somerville at let's rock essex 2019, jimmy somerville at w-festival 2019.

  • There's More to Love Than Boy Meets Girl

Jimmy Somerville at 80s Classical Leeds 2019

Jimmy somerville at forever young festival 2019.

  • Turn the Beat Around
  • You Spin Me Round (Like a Record)

Jimmy Somerville setlists

Jimmy Somerville

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Most played songs

  • Smalltown Boy ( 24 )
  • You Make Me Feel (Mighty Real) ( 21 )
  • Don't Leave Me This Way ( 20 )
  • Why? ( 17 )
  • Never Can Say Goodbye ( 15 )

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Artists covered

Bee Gees Bronski Beat Merry Clayton The Communards Dead or Alive The Jacksons Harold Melvin & The Blue Notes Vicki Sue Robinson Sylvester

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132 people have seen Jimmy Somerville live.

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does jimmy somerville still tour

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Interview: Jimmy Somerville

does jimmy somerville still tour

Jimmy Somerville has been successful over many projects throughout a career that started when he founded eighties British synthpop band Bronski Beat. Following his success with classics like Smalltown Boy , Jimmy parted way with the band in 1985 to form another hugely successful staple in 80’s disco pop, The Communards where he continued to dominate the charts with hit singles that including two of the bands signature releases, a cover of the Harold Melvin & the Blue Notes hit Don’t Leave Me This Way and a cover of The Jackson 5’s Never Can Say Goodbye , both solidifying their place as one of the 80’s most successful acts.

Fresh from releasing his latest single and busy preparing for the release of a new album in early 2015, Jimmy Somerville shows no signs of slowing down as his latest up-tempo stormer proves and we had the chance to catch up with the musician recently to discuss his latest work.

During our interview we asked Jimmy about the singers brand new single, the Disco-inspired Travesty and his upcoming album. We also asked Jimmy about his proudest career achievements and his views on the developments of LGBT equality in today’s society. Here is what Jimmy had to say…

Brendon Veevers: How are you doing Jimmy and where in the world does our interview find you today?

Jimmy Somerville: Hi Brendon, I am currently in the London borough of Islington.

JS: The single is a really disco stomper. It’s got everything in it but the kitchen sink. It’s everything that I’ve always loved and funnily enough, when we had finished with the mix and when everything was done I was like “Oh my goodness! This is everything that I have always wanted to do on a record!”, so for me it is a real treat. It’s an interesting one because it’s very much kind of full on and really loud and bangin’. It’s everything that you expect a disco track to be but it’s got this real kind of social common lyric. It’s a very optimistic lyric and for me it’s about dealing with where we are, kind of where I am and how I feel in this moment in time regarding politics and world affairs really.

BV: Travesty comes ahead of the new album which you have titled Homage . Is the style and general vibe of Travesty indicative of the rest of the album or is it going to be a mix of genres?

JS: It’s all disco which is why the record is called Homage – it’s a homage to an era; it’s an homage to a sound which is so kind of, the life that it has and no matter where you go it’s like people still play a lot of disco to lift everybody’s feeling and to give everyone a good time. Disco is always good to lift the soul a little and that’s what I wanted to do; I wanted to do something that was kind of a celebration. There is a ballad in there to which is a homage to the ballad and is fun.

BV: What else can you tell us about Homage ? Any guest appearances or covers within the record and when can we expect the record to land?

JS: There aren’t any covers on the record; they are all self-written which has been really good fun. The album is coming around March next year and it’s going to be great because it’s also going to be pressed on vinyl with a gatefold sleeve and for me that’s always been a dream for me as a kid because if it was a double album I would go home and the gatefold would open up and I would just be in vinyl heaven!

[youtube id=”BzCpZo1OeNc” width=”620″ height=”360″]

BV: The last few years has seen a lot of success go in the way of comeback by 80’s artists like Alison Moyet, Erasure, Human League, Culture Club and Nik Kershaw. How are you feeling about being an artist these days and where do you think you fit within the industry?

JS: It’s a really strange term, that thing about “comebacks”. I always think, “Where have I been?” and “Where did I go?” I’ve always been doing what I do and I’ve always been making music and it’s a shame because what that says to me is that if you don’t have commercial success that somehow you’ve suddenly disappeared.

I’ve always been making music but it just hasn’t had commercial success and while it’s nice to have commercial success, for me as an artist and as someone who just wants to sing and to write it’s just about the actual process of creating so I’m just doing what I usually do and I’ve come up with a new album and it’s been really well received and it’s great to know that there are so many people that are really enthusiastic.

I’ve got a really great team. I haven’t worked with record labels for a while and it’s a really small company but there are some great people working on it who have just given really great energy and that’s really nice to have people who are working in the record industry that like music (laughs) and who are working with you because they love music so that’s really cool.

[youtube id=”5Ha5HrQryLk” width=”620″ height=”360″]

BV: As an openly gay musician you have been honest and open about your lifestyle choices all throughout your career and you have always been a huge supporter of the LGBT community and for the equal rights of gays and lesbians around the world. There is obviously still a long way to go for the gay community, particularly for those in certain countries like Russia and parts of Africa. How do you feel about the developments of gay rights and what do you think it will take for the whole world to be accepting of the LGBT community?

JS: Ever since I was a kid I’ve always had this realistic idea that no matter how things change and no matter how progressive we get there will always be people who shun you for the colour of your face. There will always be people who will bat you around the head with a bat because of who you love and all that kind of stuff and it’s never going to go away. That’s the sad thing. That’s part of the human condition.

For me, my optimism is about the fact that the human condition is a journey and hopefully that journey carries on and we become much more understanding of each other and basically just accept each other and it sounds a bit wet but it’s not actually, it’s very simple but sadly its so far removed from where we are at the moment.

All it is about is accepting one another for who we are and to get on with our own lives and stop interfering in someone else’s. But that is always going to be the case and it’s what keeps me optimistic is that I actually do have faith and belief, as I say in Travesty – “believe in a better day, believe in a better way”.

[youtube id=”-JBq7uOQYZU” width=”620″ height=”360″]

BV:  What career moment do you regard as being your finest? What are you the most proud of when you look back over your lengthy career and why?

JS:  Umm, today I guess the thing that I am most proud of, well in some respects  Smalltown Boy  kind of has to be up there because it is a classic and it still has the power to reach deep into someone’s soul and into someone’s emotional framework and for me that’s pretty cool. Even when I listen to it I’m kind of, not detached from it but it’s quite distant from me because if I listen to it I can hear where it’s coming from and there is a real emotional cry in that song and that’s what makes the song so powerful because there is something really emotional and from deep within in that song so that song probably would be my proudest moment.

[youtube id=”Xuz94ZIPfJk” width=”620″ height=”360″]

BV: Social media is a fundamental tool these days to an artists’ success and the promotion of records. Have you embraced social media or is it something that proves to me more hassle than a tool that is worthwhile?

JS: It’s kind of interesting. I use Facebook with my work but I don’t use it personally. I use things like WhatsApp with my friends. I have my iPhone and various things but I don’t really use social media so much.

It’s interesting because it’s definitely a generational thing because there is a younger generation where social media is the norm but for me personally it’s not the norm because a lot of my memories and a lot of my past is based in a very different way of communicating and getting around but at the same time it’s kind of amazing.

I have involvement in various organisations and there’s one that is called Change.org and the power of that organisation is quite amazing – it’s absolutely incredible because you basically just get sent a text or an email and you sign a petition and before you know it hundreds of thousands of people have signed a petition and suddenly the issue gets noticed and I just think that’s amazing and for me that is when social media is really brilliant; it can bring to someone’s attention something that we can be involved in rather than feeling helpless.

BV: What are the plans for touring Homage and Travesty ? Will you be taking to the road over this year or next to promote the releases and what can you tell us about territories and dates?

JS: Next year we will probably be doing some live stuff and some promotional stuff so at the moment it’s all about finding the musicians and finding the way and means to do that but it’s all possible but it just takes a lot of organising and we have an expression here called ‘ducking and diving’ to try and find the cash. It’s all about the cash (laughs)

Jimmy Somerville’s new single Travesty is out now and available on iTunes and and Amazon and Jimmy’s new album Homage will be released in 2015.

Check out the Robbie Leslie Mix of Travesty here and a video of Jimmy talking about the new single here .

Brendon Veevers

::: RenownedForSound.com’s Editor and Founder – Interviewing and reviewing the best in new music and globally recognized artists is his passion. Over the years he has been lucky enough to review thousands of music releases and concerts and interview artists ranging from top selling superstars like 27-time Grammy Award winner Alison Krauss, Boyz II Men, Roxette, Cyndi Lauper, Lisa Loeb and iconic Eagles front man/songwriter, Glenn Frey through to more recent successes including Newton Faulkner, Janelle Monae and Caro Emerald. Brendon manages and coordinates the amazing team of writers on RenownedForSound.com who are based in the UK, the U.S and Australia.

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Jimmy Somerville interview: 'I wanted people to love me'

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Former Communards frontman Jimmy Somerville

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If Jimmy Somerville had one of the most powerful pop voices of the 1980s, then his words carried even more of an impact. As frontman of synth-pop bands Bronski Beat and the Communards, Somerville’s soprano tones were unmistakable.

But almost more than his musical talent, it was his political zeal that made him stand out from the crowd. At a time when musicians such as Boy George and Freddie Mercury kept their sexuality ambiguous, Somerville was one of the first truly out-and-proud gay pop stars, addressing homophobia head-on in songs such as Bronski Beat’s “Smalltown Boy” while also nailing his socialist colours to the mast on such tracks as the Communards’ anti-Thatcher screed “Breadline Britain”. You’d be unlikely to hear chart acts today making a similar stand.

However, Somerville’s success was shortlived: in 1985, the Glaswegian left Bronski Beat to form the Communards, but the band split just three years later. And though he then pursued a solo career, he slowly withdrew from public life.

When we meet for coffee at the Sanctum Hotel in Soho, Somerville, 53, says it’s been almost 20 years since he’s done any “proper press”. He explains: “I’ve always been making music, but I sort of went under the radar. I kind of disappeared ... I was never really that comfortable with the music industry. I loved the idea of being able to express myself creatively – but the rest of it never really sat well with me.”

The reason for his emergence now is a new album that’s he’s truly happy with: Homage , a joyous old-school disco record complete with horn sections, big backing vocals, strings and the odd cow bell. It comes in the wake of the recent disco revival led by Nile Rodgers and Daft Punk; Somerville says that society needs the genre more than ever. “When disco came around the first time, there was this real core of progressive thinking and a positive lyrical content – about freedom, the possibilities of love, change and expression. I think we live in such fearful times at the moment [that] we start to close in on ourselves. [Disco is the] antidote to that.”

The album also appears to be Somerville’s way of casting off the darkness that has plagued him for decades. In the 1980s, at the height of his success, he struggled to cope with both the pressures of fame – “I was painfully self-obsessed and self-aware. I wanted people to love me but at the same time I was terrified of them,” he says – and the scourge of Aids that was decimating the gay community.

Somerville was best friends with Mark Ashton, the activist and co-founder of Lesbian and Gays Support the Miners, who was the hero of recent film Pride . Ashton died from an Aids-related illness in 1987; and despite the fact that his songs feature in the film, Somerville says he couldn’t bear to watch it at the cinema as it would “make him bawl his eyes out”.

His way of filling the void within was hedonism: Communards bandmate Richard Coles, now better known as Radio 4 presenter the Rev Richard Coles, documented their high-rolling lifestyle in his recent autobiography Fathomless Riches. Both were heavily into the trappings of the party scene – Somerville says “everything” when I ask what that involved – and it was only two and a half years ago that he finally accepted that he was an addict, and that “whatever it is that I [consume], especially chemical substances, once I start, I can’t stop ... it’s a case of either active addiction and possible death or abstinence and life. So I’ve chosen abstinence and life.”

Rock and pop highlights of 2015

In 1987, when the Communards were imploding, Coles broke the news to Somerville that he was HIV positive; a few years later, he revealed that he had made the whole thing up. The second revelation ripped apart their friendship: “When he confessed, I didn’t react in a constructive way,” says Somerville.

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“I’d known lots of people who had died, people who were ill. I was in my own dark place of trying to deal with everything that was happening so I put a barrier up and we didn’t speak for a long time.” The two are now back in friendly contact – Coles emailed Somerville and asked him if he wanted to read his book before publication, though he declined. I ask him what he thinks about Coles being something of a national treasure now: “He’ll be in his element. He always wanted to be a big celebrity,” he laughs.

The new album might not push Somerville into the stratosphere in which the Rev currently resides, but it’s a rich collection. So, alongside the feel-good vibe, there’s social comment, as on the song “Travesty”, a damning indictment of the current government’s welfare policies (“Wake up/it’s a welfare war”).

As a working-class boy, he joins the current chorus of despair about the increasing elitism of the arts. “The industry doesn’t work how it used to work. I come from a place where, without the benefit system, I probably wouldn’t have had the opportunity to experiment. I had a system that allowed me and a generation of creative artists to do that. That’s why we were an incredibly explosive, creative country. We had that youth culture explosion in the Sixties but I believe the early Eighties was the second wave of that. We had a system that encouraged that. But now, our culture and arts scenes are under threat.”

More hopeful to him is the increasing number of gay stars in mainstream pop, the latest being recent Grammys and Brits hero Sam Smith. But he would like to see singers like Smith push things forward by choosing to use same-sex pronouns in their songs, as he did many years ago.

“I guess it’s up to the individual to sing and write that but I don’t believe for one minute that none of those artists have a desire to sing ‘he’ or ‘him’. But we’ll never really know if they did decide to change that, if they would be as successful.”

Somerville’s own focus, for now, is to spread some of the positivity from his album: “These songs come from someone who’s found some personal freedom.” And while he is single at the moment, he is not without love, he says. “I believe now that love is letting people in. Love is bigger than all of us. I’ve had a real struggle in the past, but I’ve finally connected my heart and head.”

‘Homage’ is released on 9 March

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  • Summer of Joy

How Bronski Beat’s Jimmy Somerville Survived the ’80s

Max Dax met Jimmy Somerville in a nameless posh hotel along a nameless, not-so-posh street near Alexanderplatz in Berlin. Muzak wafted through the speakers in the hotel lobby, but the filter coffee was passable. First encounters with Jimmy reveal his surprisingly small stature and a lower voice than one might expect, if they’re familiar with his records. Of course, he doesn’t talk in the falsetto he became famous for in the early ’80s as a member of synthpop trio Bronski Beat. Rather, his voice is low-swung and self-aware, with a broad Glasgow accent. Somerville’s new disco album, Homage, is a return to form, which he describes as “a tribute to sexual freedom, hedonism, and self-empowerment.” Max Dax sat down with him to talk pop’s explosive second wave in London, passing on Trevor Horn, the advent of the AIDS epidemic, and surviving the ’80s.

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Max Dax: I met Holly Johnson the other day, and he told me that back in early 1980s, Paul Morley of ZTT had played with the idea to sign Bronski Beat instead of Frankie Goes to Hollywood. Do you think that would have made a big difference?

Jimmy Somerville : When we formed Bronski Beat, there were three labels that wanted to sign us, one of which was Zang Tuum Tumb Records. I really loved Trevor Horn’s productions at the time, and I could have imagined Bronski Beat in that surrounding. I mean, Trevor sent us stuff that hadn’t been released yet, including new tracks by Art of Noise, and I really was blown away by the high production value, which was unheard of at that time. But if we’d signed to ZTT, Trevor Horn would have had 100 percent control over the production, and that would have also meant that ZTT would have had total control of the image and everything else. That wasn’t what we were all about; we didn’t want to be controlled by anybody. We knew what we wanted to do and I’m kind of glad that we didn’t follow the trail of the money because they had some explicit ideas how to present us that I didn’t like to start with.

How do you think Morley would have marketed you?

It was just before the famous marketing campaign with the “RELAX” T-shirts that made Frankie famous. Morley’s idea was to have us wear and market T-shirts that basically said that we were gay, because they’d have words like “QUEER” or “POOF” printed on them. I have to admit that they were great designs, but I wasn’t really interested in some kind of a controversy or being reduced to the fact that I’m a gay male. I had to make the decision between remaining free or being produced by Trevor Horn, and I picked freedom.

So basically, you wouldn’t run away from a small town to end up in chains in a big town?

Yes, exactly. And don’t forget the way “Smalltown Boy” sounded! It’s raw and very emotional. That would have all been completely flattened out by Trevor Horn.

The ’80s were the decade in which design, music, Bolshevik chic, and Neville Brody’s typography became a new hybrid. You were one of pop culture’s protagonists then.

In the early ’80s, pop music started to become this larger-than-life cultural phenomenon that basically impregnated the whole Western society.

It was when MTV started and music suddenly became visual. It was as if the videos had been the missing piece in the big puzzle.

I still like the video to “Smalltown Boy.” Just before it all started, there was this massive impact emerging from New Wave and electronic music, and it all went together with fashion that seemed to celebrate the new decade, a decade of individualism and experiment. You mentioned MTV, but don’t forget stylish magazines such as i-D , Dazed & Confused , and The Face that amplified the whole conglomerate. Within months London became the world capital of visual style. It was the city in which pop materialized.

And with pop came the explosion of music and of sexual politics.

London was the epicenter of sexual politics, fashion, and style. Everything was exploding at the same time. The idea of youth culture was redefined, just as the hippies had redefined it in the ’60s. In fact, the second wave of pop had many similarities to that movement, especially in the sense that sexual politics were again the driving force.

The small town you escaped from was Glasgow.

I had to! They would have beaten me to pieces. I was openly gay and skinheads who hated homosexuals ruled the streets. I left town in 1979 and headed to London. Everybody sensed that something very special was going to happen there.

I think that London was and is the capital of the world—much more so than New York.

New York has always done a great PR job on itself. America still is a very divided country on race. The police force and all of the institutions are geared towards oppressing black America, so it really does irritate me that the US is still considered the most democratic and the most liberal country in the world, because they’re not. If you haven’t seen it yet, you have to watch the incredible BBC documentary Requiem for Detroit by Julian Temple. I don’t remember seeing anything so moving.

Have you ever been to Detroit?

I’ve never been there, but after seeing this documentary part of me wants to go. It’s almost like the same uncomfortable feeling that I would have if I was going to Delhi in India. And I thought about how freaky it is that I would be just as disturbed by Detroit as I would be by Delhi. America does an incredible job of blinding the rest of the world about the actual reality.

Homage , your new album, is about disco, which is a true American art form.

It is! But when we talk of disco many people still think of office parties and polyester trousers and wigs and the Bee Gees doing “Stayin’ Alive.” But when I think of disco, I think of the ballroom scene and of one of the greatest liberation movements in the history of pop. The substance of disco is incredible! The “disco sucks” movement wasn’t just about people not liking disco music; it was about white conservative heterosexual America reacting out of fear of a movement from the underground which was suddenly becoming very visible and which consisted of people who were on the fringes of society, like gays, lesbians, and blacks. Disco was an unprecedented celebration of diversity, and white conservative America didn’t like it. The politics of disco are absolutely massive.

And you pay homage to that diversity.

Yes, and also to the sexual politics that came with it. My first real music-meets-life experience as a grown-up was at an underground club. We had to go into the basement to dance to the music, and in the process, I met other men who were also on the fringes of society. One of the first records that I bought was the Village People’s self-titled debut EP from 1977. The four tracks were titled “Village People,” “Fire Island,” “San Francisco,” and “In Hollywood (Everybody is a Star).” All four songs were about places: Fire Island was a gay weekend holiday playground, San Francisco and Hollywood are self-explanatory, and “village,” of course, refers to Greenwich Village in Manhattan. So that mini album focused on four places that were on the forefront of a sexual and political revolution. I mean, imagine living in Kansas in 1977 and not knowing where to go; the Village People had the answer. And not only that—they were saying, “We are people!”

Do you think that the world we lived in 40 years ago was a completely different one from today’s?

Within the last 40 years, obviously, a lot of things have changed to the better. But when I called my album Homage , I also realized that I belong to the first generation of musicians that can actually look back and really pay homage to pop music. The Beatles couldn’t. They could pay homage to the old blues musicians, but not to pop. As a gay man I was allowed to go back into the formative years of the genre and to pay tribute to sexual freedom, hedonism, and self-empowerment.

It turned out to be only a short summer of love, though.

Straight after that came the first wave of people to be diagnosed with AIDS. No one understood what it was, but it was killing people, and suddenly the decade of sexual liberation and gay pride became tainted by this flu and turned into the decade of death, discrimination, hysteria, and fear. You have to take this into consideration when you talk about disco. It’s heavy stuff. In that sense, my new album is a celebration of something beautiful in the face of adversity. This is a way for me to express my optimism and my ability to rise above that fear. Homage really is the first album I feel completely in synch with. I just love the songs and the production.

How do The Communards fit into the equation? You founded that group with Richard Coles in 1985, and you dedicated its second album, Red , to Mark Ashton, who died of AIDS in 1987.

I’ve always suffered from self-obsession and a lack of confidence, so I remember The Communards’ endeavor as a never-ending series of discussions about how we could or should have made the music differently. I just remember the time as uncreative. But I still love the artwork of the first record. It was an act of reclaiming an ideology that had been hijacked by communism. The original communards in Paris 1871 were not totalitarian—they had great ideas. I can’t say our two albums were unsuccessful, because I think we were in the top ten all over Europe. Did you know that The Communards were an all-female band when we played live? That was quite a radical statement at that time—especially if you compare my career to all the other singers who had become mainstream by the end of the ’80s, trying to cash in as much money as possible before it was too late. The Communards were a radical little band.

Do you see yourself as a survivor of the ’80s?

That’s truly an interesting question. It wasn’t until recently that I started doing a lot of work on myself and who I am and on certain aspects of my past, and I realized that, yes, I am a survivor in more than one sense. At a certain point in my life I even had incredible survivor’s guilt. And this is an aspect that still has to be spoken about. I think whenever and wherever something traumatic happens in this world, such as a war or an epidemic, we don’t discuss survivors’ guilt. This is especially true of the gay community. I mean, I was hedonistic, I was sexually liberated, and I wasn’t infected. But I was affected emotionally and psychologically because I asked myself, “Why everybody else? Why not me?” As time has elapsed, I now can tell that maybe I survived because this obliges me to reflect the times. Only a survivor can do that. I can now tell people about the second wave of sexual liberation and the terrible kiss of death that followed it. And I can tell people about the music that was on all the time: disco music. And to come full circle, this is exactly why I recorded my new album and why I called it Homage . I had to do it. I owe the world.

Published March 11, 2015. Words by Max Dax.

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Jimmy Somerville: Club Homage – Album Review

does jimmy somerville still tour

Out 29 April 2016

Former believer that Disco Sucks, Ged Babey, is now firmly in the groove as he follows up his review of the parent album Homage ….

I gave Homage a 10 / 10 rating and Club Homage only gets a 9/10 because the last two remixes stray a bit too far into 21st Century Rave territory rather than being full-on Camp Disco

The euphoric joy of disco has been a consistent thread that has run through the diverse, and illustrious thirty year career of pop legend Jimmy Somerville.

‘There’s a massive glitter ball in my head and it has never stopped turning’ says Jimmy. An unlikely pop-star and thirty years on still making great music if this new collection of 12-inch re-mixes of the Homage album is anything to go by.

“A homage to disco is something I always wanted to do. I never really thought I could pull it off but I did, and it’s a really brilliant album to be perfectly honest.

“All the music I’ve listened to are in there. When I listen to it, it makes me think of being 15, sitting on the bed, taking the vinyl out of the sleeve, putting it on the record player, then just sitting and reading all of the sleeve notes whilst losing myself in the music.”

Editors  Note –  Ged, Isn’t this exactly the same as your review of the previous album, Homage?

Yeah, but, no, but – its the extended re-mix !

Now. if you have read my reviews in the past you know I am Mr Punk / Post Punk … as a young man I thought Disco was the Enemy. It was music for happy, dumb people to dance to in order to impress the opposite sex (or yeah, the same sex, but that never occurred to me back then, I lead a sheltered life.) I wanted music that made me angry, made me feel part of something … and punk fitted the bill. You could dance to punk rock, after a fashion, and it made you feel alive. I can see now, all these decades later, that you could do the same to disco. It gave you an identity and an escape.

Reading This Is Uncool was a revelation. Realising that Jon Savage and others from the Punk Generation loved Disco as much as they loved Punk was an education. But I was, and remain, unconvinced that it was as life-changing and life-affirming as punk (and post-punk). That said, I Feel Love, Disco Inferno and the like are as magnificent as anything by the Shangri-La’s, the Ronettes, the Supremes (I love the Sixties Girl-Group Sound as does any New York Dolls, Damned, Joe Jackson fan who did the necessary research…) or Buzzcocks, Generation X and the Jam.

That’s the thing though; Disco (and Punk) were basically at their best in 3 minutes of vinyl; the single.

This is where you need to fast-forward thirty-eight years (fuck me!) and realise that an albums-worth of 12 songs -all of which could or should be a hit single – make up a perfect, flawless album. A tribute, homage to disco. It’s a bit Philly Soul, a bit Supremes, a touch of Sylvester (a bit of tweetie pie) but as a consummate whole it’s a sunny day smile-athon you can dance to, yet still has that touch of politics that you’d come to expect from a man with Jimmy’s convictions and compassion.

“Life must mean more than this” he sings on Travesty, apropos the way some people have to live under this governments savage austerity. Yet the song is as upbeat a protest song as you can get, and the casual listener wouldn’t even notice.

There are love songs of desire and songs of regret here, all with the trademarked Nile Rodgers guitar and hi-hat groove, masses of strings and soulful backing vocals, every disco trope there is, bar perhaps the boom-boom syn-drum.

Homage made me realise that where me and dance music part-company is where the music became synthetic and electronic (Hi-Energy and Euro-Disco) and I never will understand the attraction of House. Prime Disco had soul and real instruments rather than programming (yeah I’m a real-ale drinking Ludd, so what) and that’s what made it -and this truly fabulous homage- spesh.

Every now and then I need a break from rock ‘n’ roll and from now on this will be my go-to album.

(Editor)s Note) Hang on a minute.  This is EXACTLY the SAME as the ‘HOMAGE’ Review !!!!!

(Geds Note ) Yeah, I know – I’ve just remixed it by chopping a few bits off and extending bits – its my own homage to the Extended Club Mix -durr!

As the Press Release says;

The dance-floor dance-off continues with ‘Club Homage’, a stunning compilation of extended versions and promotional remixes of the most popular floor-filling tracks from the parent album. These are the mixes that were the spearhead of Jimmy’s new found popularity across the clubs of Europe. All of these particular versions of these tracks are released on CD for the very first time. The extended version 12” single format that was so synonymous with the original disco era is paid homage to in ‘Club Homage’ by Jimmy and a host of remix collaborators including the legend that is Tom Moulton (Grace Jones, Gloria Gaynor, The Trammps) and the famed DJ Robbie Leslie of New York’s ‘Studio 54’ and ‘Saint’ nightclubs alongside more contemporary remixers Felix Gauder and Sebus & Larzo. The black vinyl effect CD of ‘Club Homage’ is packaged in a limited edition deluxe high-gloss, gold embossed, mini-gatefold sleeve to complement the design of the original Jimmy Somerville ‘Homage’ album. Both releases, in their music and their collectible packaging, are a veritable homage to all things disco!

Jimmy Sommerville is on Facebook .

All words by Ged Babey. More can be found at his author’s archive. 

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  1. Jimmy Somerville Concerts & Live Tour Dates: 2024-2025 Tickets

    About Jimmy Somerville. Jimmy Somerville (b. June 22, 1961) is a scottish pop singer. Was a star in the 80's with Bronski Beat and The Communards as well as while working solo. Born and raised in Glasgow with his signature falsetto singing style, he happens to also be a left-wing human rights activist. He went solo when the Communards split up ...

  2. Jimmy Somerville tour dates & tickets 2024

    Mighty Hoopla 2021 Becky Hill, Cheryl, Absolute., Atomic Kitten, Betty Boo…. 2021 Aug 20 Aug 22 2021. Remenham (Nr. Henley), Temple Island Meadows. Rewind Festival - South 2021 Jimmy Somerville, Billy Ocean, Queen Symphonic, Trevor Horn, Nik Kershaw…. 2021 Aug 06 Aug 08 2021.

  3. Jimmy Somerville

    James William Somerville (born 22 June 1961) is a Scottish pop singer and songwriter. He sang in the 1980s with the synth-pop groups Bronski Beat and the Communards, and has also had a solo career. He is known in particular for his powerful and soulful countertenor/falsetto singing voice. Many of his songs, such as "Smalltown Boy", contain political commentary on gay-related issues.

  4. Jimmy Somerville Tickets

    Jimmy Somerville (b. June 22, 1961) is a Scottish pop singer. Was a star in the 80's with Bronski Beat and The Communards as well as while working solo. ... Over 17 million tickets sold ...

  5. Jimmy Somerville

    List of all Jimmy Somerville gigs, tickets and tour dates for 2024 and 2025. Choose a gig or festival and buy tickets at once. ... Jimmy Somerville: Live and Acoustic at Stella Polaris Buy on Amazon. 2016. Club Homage Buy on Amazon. 2016. Back to Me - Leo Ryan's Stella Polaris Remix Buy on Amazon. 2016. show all. Photos. Similar artists Jimmy ...

  6. WHERE ARE THEY NOW? Jimmy Somerville

    Video unavailable. Watch on YouTube. Watch on. 80's pop star, 90's solo artist, what has happened to Jimmy Somerville? You make us feel, mighty real! For nearly forty years, Jimmy Somerville has been in integral part of the British music scene. In the 1980's as the lead singer in two groups and as a solo artist in the 1990's. Born in Glasgow….

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  8. Interview: Jimmy Somerville Discos Back Into Our Hearts

    Jimmy Somerville of Bronski Beat, The Communards and solo fame is back with a new album dropping Friday, March 6th. Homage is all disco and all brand new music. This gay icons distinguished voice and style really shine through in his new album. We hope he tours soon!

  9. Jimmy Somerville

    Jimmy Somerville. 157,614 likes · 5,147 talking about this. 'Read My Lips' the reissue is out now!

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    Temple Island Meadows. Henley-on-thames, UK. Oct 31, 2020. Howard Jones / Belinda Carlisle / Jimmy Somerville / Nik Kershaw. OVO Arena Wembley. London, England, United Kingdom. Oct 27, 2019. Nik Kershaw / Howard Jones / Jimmy Somerville. 80s Classical.

  13. Interview: Jimmy Somerville: Still fighting for his love

    Jimmy Somerville, curled on the massive settee, wearing camouflage trousers and faded T-shirt, with bare feet in open- toed sandals, fresh from cycling in from Islington, looks a touch incongruous.

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  15. Jimmy Somerville Concert Setlists

    Jimmy Somerville at Retro Winter Tour 2019. Artist: Jimmy Somerville , Venue: Motorpoint Arena , Nottingham, England. You Make Me Feel (Mighty Real) So Cold the Night. Never Can Say Goodbye. Smalltown Boy. Don't Leave Me This Way. I Feel Love / Highway to Hell. Edit setlist.

  16. News: Jimmy Somerville Returns With New Album 'Homage'

    The euphoric joy of disco has been one consistent thread, which has run through the diverse, illustrious thirty-year career of pop legend Jimmy Somerville. "Travesty", written by Jimmy and produced by long-time producer John Winfield, is a taster of his forthcoming album Homage that as the title suggests, pays homage to the disco era. The ...

  17. I've got something to live for! Watch Jimmy's performance of ...

    Jimmy Somerville · 26m · Follow. I've got something to live for! ... Soiz Ic. Hi Jimmy, happy new year (a bit late) we want you to do a world tour and come to Paris in 2024. A fan. 8m. Colette Laing. Jimmy you and ur voice are still awesome keep going till u can't go no more never give up. 8m. View more comments.

  18. Interview: Jimmy Somerville

    Interview: Jimmy Somerville. 8 min read. Jimmy Somerville has been successful over many projects throughout a career that started when he founded eighties British synthpop band Bronski Beat. Following his success with classics like Smalltown Boy, Jimmy parted way with the band in 1985 to form another hugely successful staple in 80's disco pop ...

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  20. How Bronski Beat's Jimmy Somerville Survived the '80s

    Somerville's new disco album, Homage, is a return to form, which he describes as "a tribute to sexual freedom, hedonism, and self-empowerment.". Max Dax sat down with him to talk pop's explosive second wave in London, passing on Trevor Horn, the advent of the AIDS epidemic, and surviving the '80s. Max Dax: I met Holly Johnson the ...

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    The euphoric joy of disco has been a consistent thread that has run through the 30 year career of pop legend Jimmy Somerville, and this is his finest hour Tuesday, March 5, 2024 ... Tickets; John Robb - The Art Of Darkness; News; Interviews; ... An unlikely pop-star and thirty years on still making great music if this new collection of 12 ...

  22. Jimmy Sommerville Concert & Tour History

    Jimmy Sommerville Tours & Concerts. Date. Concert. Venue. Location. Jun 29, 2011. Boy George / Jason Donovan / Jimmy Sommerville / Belinda Carlisle / Midge Ure / Pepsi and Shirli / A Flock of Seagulls. Metro Radio Arena. Newcastle upon Tyne, England, United Kingdom.