AmpedOut: The triumphant re"Turn" of Alison Moyet

Am_tour_shotnicole_nodland_ (Photo: Nicole Nodland)
It's been 14 long and aching years since British pop singer Alison Moyet toured the U.S. (outside of last summer's "Yaz Reconnected Tour"). Fortunately for us, with her seventh album "The Turn" (2008), she finally shifts westward to the States for a 15-date trek, starting tonight in New York. Moyet's opener, singer/songwriter Brendan James, will perform selections from his acclaimed debut disc, "The Day Is Brave" (2008).

Her first album since UK Top 10 covers disc "Voice" (2004), and original album since "Hometime" (2002), "The Turn" showcases Moyet's immense abilities as a composer. With shades of soul, pop, and chanson (an homage to her French father), "The Turn" finds Moyet in familiar territory, chronicling the ups and downs of relationships, from initial longing to the point of longing to forget.

But it was also Moyet's powerful pipes that, over 25 years ago, won her a pop partnership with keyboardist Vince Clarke in a band called 'Yaz,' still widely-known for mega-hits like "Only You," "Don't Go" and "Situation." The vocalist has since proven herself as a strong solo artist from her 1984 debut LP "Alf," featuring UK Top 10 hits, “Love Resurrection” and “All Cried Out,” and U.S. Top 40 hit, “Invisible”; to the album "Hoodoo" (1991), which featured the Grammy-nominated track "It Won't Be Long,” through current material. Her vocal abilities have also won her stage roles in the London musicals "Chicago," and "Smaller" (from which three of the songs on "The Turn" were culled.)

Josh Rocker chatted with this star of song and stage, 'the other Divine Miss M,' about her current tour, new album, and gay fans.

Alison, what can American audiences expect when you hit the U.S. in terms of set list and performance?
The shows I will perform in the U.S. are slightly different to those I do in the U.K. in that on home soil, I tour frequently, so I am able to perform a greater proportion of newer material. For American fans, I am aware that there have been few opportunities to hear live even the earliest albums, so we have tailored a set that spans my catalog, playing a couple of tracks from all my albums and including a couple of Yaz tracks. My set therefore is quite eclectic: funk, blues, folk, pop and chansons. It is intimate by nature, organic, and without a sequencer to be found.

Why has it been so long since you toured the States solo, and how do you feel about returning?
It is really hard as a little-known solo act to get a band over to the States; it can be prohibitively expensive. I have wanted to return for an age, but something has always come up that has made it unworkable. Getting work Visa's, having a play opening in the U.K as a tour is penciled, and having a record company on board interested enough to help with the set up, blah, blah, blah.

The tours I have done in the U.S. were always incredibly exciting. But 14 years is a long time. In this case, an opportunity arose and I was determined to take it. I knew if I didn't come now, it would never happen.

Bergman_bj_0365_20080325_163707_2 (Brendan James, pictured left, c/o Decca Records)
How did you and Brendan James come to tour together and are you a fan of his work?
This tour was put together so quickly that it was a lucky turn of events to find Brendan. I had not previously been aware of his stuff, but then I live in a bubble. You don't always get a great opening act, and I am delighted that on this occasion we have.

Your new CD is titled "The Turn." Is this referring to a turning point for you, either professionally or personally?
A 'Turn' is an unflattering phrase used usually in the north of England to address a generic variety performer. I am aware that us acts are like lumps in a boiling soup. We rise to the top to sink again, maybe to surface sometime later, but we will all end up in the pan one way or another, digested or not. I see clearly the smoke and mirrors that surround us performers and am intrigued by how ready we are to buy into the myth. That is not to say that I do not believe absolutely in myself as an artist -- I do. I just don't value hot air up my arse. 'The Turn' is also a phrase used in the acts of magic, where for a moment something ordinary becomes extraordinary. I relate to that.

Moyet Today: Watch her "A Guy Like You" video here:

What inspires such heart-wrenching songs like "One More Time," "Can't Say It Like I Mean It," and conversely such an uplifting song like "A Guy Like You"?
I seek to write songs that reflect the experiences of my 47 imperfect years. 'One More Time' relates to the game which has become all about withholding and detachment, and yet even in the cold light of day, the will remains to keep the faith -- that peace will come. Beneath all the defences and behind the walls, love abides. 'Can't Say It' speaks of a codependent relationship, of not taking personal responsibility, and of the deepest, saddest truth -- that you took it on knowing it was without substance. Take away the crutch and there was nothing but words to tie your selves to one another. Those are truly wasted years.

'A Guy Like You' was my attempt at a song without the weight of personal analysis. I wanted to write some pop. I liked the image of a guy so beautiful that people moved aside to watch him, that tables would be rearranged to allow more people to be sat by him, parties thrown just to invite him, and ultimately, what a floor of sand it must be to walk on, keeping hold of a guy like that.

When you craft an album, do you ever imagine the circumstances under which your audience will be listening to it?
I confess that I rarely consider the listener when I am writing or recording. When I sing, I seek to move myself. When I listen to music, I prefer personal space, unless it is something rousing and evokes happy shared times with those I love. I don't know how people experience me other than some get off on what I do and some don't. I am merely delighted when someone searches out my work, especially the more obscure stuff.

What can your gay fans, in particular, gain from the new album?
I can only be presumptuous here. Music does not have sexual boundaries. In the 70's and the 80's, I related to and was accepted by the gay community as a well-known singer, and even before that. At that time we were both seen as being outside of the understood mainstream. We were questioned about our
differences and were expected to ask many questions about ourselves. Back then I was recognized as being an outsider and we outsiders love to see one of our own standing proud with a 'what are you going to do about it' look on our faces, and I was the queen of the dark look.

Now gay people are less expected to be a franchise. They don't have to affiliate or wear a symbolic badge, or at least less so. I note that at my kid's schools, their friends came out publically in their young teens in a way that didn't happen in my school days. What I am trying to say is that there is no 'gay' sound. What is to be found on 'The Turn' is melody, poetic lyricism and passion. I have been lucky for many years to have the affections of a great swathe of gay fans, for which I am profoundly grateful. I cannot assume they will keep me, but I always wish them to.

(Yaz reunited: c/o Getty Images)
OK, now going back 25 years, why did you and Vince Clarke break up in the early 80's and what brought the two of you back together for the "Reconnected Tour"?
Yaz formed by accident, really. When Vince left Depeche Mode, he was not preparing to start a new band so quickly. He had a song that he asked me to sing on, and his record company loved it and said we should make an album. Within a couple of weeks we were working full-on, and within three
months, we were famous. Within that time we never even had a drink together. There was no time to make a friendship, and when it got tough, as it does when everyone wants a piece of you, there was nothing between us to hold us together. Vincent hadn't had the space he needed, and after a year it was evident that we couldn't relate to one another. Vincent said he wanted to split the band. Our second album came out the week we announced our split. I, who prefer the live arena, was always sad that we never got to play our second album live, and had only done 14 dates worldwide on our first. It felt like unfinished business. After 25 years I decided to ask him if he fancied giving our songs an outing at last, and happily, he did.

Moyet Yesterday: Watch Yaz's ever-popular hi-enrg dance single "Don't Go" here:

I know you've worked on a few projects with both Dawn French and Jennifer Saunders (of "AbFab" fame), and most recently with French on the "Smaller" musical. What was your experience like working with them, and are you and Dawn French friends?
They are brilliant women, both of them. I met Dawn first when I was 21, at a party. She is a dear best friend and we are very important to one another. It was always fun working with them, not least because they are sharp, intelligent women. Dawn and I have long wanted to do something substantial together and we came upon the idea of a play with music, which was written by Carmel Morgan and was called 'Smaller.' I wrote three songs for the play and they are included on this new album. I would like to say it was a barrel of laughs, but our stage mother dies in the play, and we sobbed every night.

Why is Alison Moyet so popular among gay men?
Beyond [what I've already said], I surmise again [that] it could be this: I am truly fabulous but not your natural wanking fodder. Gay men have no need to desire me and are therefore more readily able to
appreciate my musical talents without being hindered by my less than satisfying video presence.

Writer's note: Let the record show that I take issue with Moyet's final statement. If she doesn't have video presence, then I don't know who does. She also has stage presence... I know, I saw the Yaz tour last summer. So don't miss this rare opportunity to see Alison Moyet -- one of the greatest vocalists of our time -- live, when she comes to a city near you.

Tour Dates:

Oct. 7    New York, NY             Blender Theatre
Oct. 8       Boston, MA                Wilbur Theatre
Oct. 10    Westbury, NY             North Fork Theatre
Oct. 11    Asbury Park, NJ          Paramount Theatre
Oct. 12    Glenside, PA                Keswick Theatre
Oct. 14    Washington, DC          9:30 Club
Oct. 17    Dallas, TX                   Lakewood Theatre
Oct. 18    Houston, TX                Numbers
Oct. 20    Phoenix, AZ                Celebrity Theatre
Oct. 21    Anaheim, CA                Grove of Anaheim
Oct. 23    San Diego, CA                House of Blues
Oct. 25    Los Angeles, CA             El Rey Theatre
Oct. 26    San Francisco, CA       Warfield Theatre
Oct. 28    Portland, OR                Wonder Ballroom
Oct. 29    Seattle, WA                   Moore Theatre