Live at Eventfinda Stadium
27 February 2025
Live Review by Music Journalist: Paul Marshall
A Synthpop Spectacle That Defied Time and Space at Eventfinda Stadium.
There’s something inherently magical about watching a band that helped shape the sonic landscape of an entire era, only to find them still at the top of their game decades later. Orchestral Manoeuvres in the Dark, the pioneering synthpop legends, brought their electric nostalgia to Auckland’s Eventfinda Stadium on Thursday night, proving that their music is as timeless as ever.
It took 38 years, but Orchestral Manoeuvres in the Dark finally returned to Auckland, and let’s just say—it was well worth the wait. Last seen on Kiwi shores back in December 1986, OMD stormed the stage at Eventfinda Stadium like time had barely touched them. And while frontman Andy McCluskey quipped, “I’m 65 years old and it doesn’t get any prettier, but I can still do it,” the proof was right there in the music.
Opening with the pulsating synth waves of "Electricity," the band immediately had the crowd in the palm of their hand. McCluskey’s voice—perfect in pitch—cut through the nostalgic haze, bringing back the shimmering, futuristic pop that defined a generation. Paul Humphreys, his ever-reliable counterpart, held down the synth-heavy fort, while Stuart Kershaw and Martin Cooper filled out the sound with meticulous precision. Bathed in neon lights and backed by a stunning digital backdrop pulsing in sync with their meticulously layered soundscapes, OMD launched into ‘Messages,’ setting the mood with deep synth swells and McCluskey’s haunting vocals.
There’s something endearing about the way OMD’s frontman Andy McCluskey seems completely unbothered by the passage of time. Now a seasoned veteran of the electronic music scene, made no attempt to hide his age—nor his complete and utter commitment to the bizarre art of flailing.
“Forty years, and my dancing hasn’t gotten any better,” McCluskey chuckled, before launching into yet another wild spin that could only be described as a rag-doll on crack. His jerky, uncoordinated movements—churning through space with abandon—created a chaotic, yet hypnotic, visual spectacle. If Ian Curtis ever danced with a cramp in his leg, this might be what it looked like. But it wasn’t just a mess of limbs; there was something exhilarating about McCluskey’s reckless abandon, the raw energy that only someone who’s been doing this for four decades can pull off. The crowd was transfixed, caught somewhere between awe and disbelief.
For those unfamiliar, McCluskey's dancing has always been an extension of OMD’s off-kilter pop persona—odd, awkward, but totally fascinating. In 2025, those same twitches and jerks might seem a little looser than they did back in the band’s heyday, but they’re still uniquely his. There’s a certain joy in seeing a frontman embrace the awkwardness of age, turning what could be perceived as clumsy into something altogether charming.
Tonight was a masterclass in synth-driven pop perfection. ‘Souvenir’ got the crowd bouncing, while ‘Joan of Arc’ transported the die-hards straight back to 1981. McCluskey, ever the charismatic frontman, flailed his signature “dad-dancing” moves with reckless abandon, proving that energy and enthusiasm don’t fade with time. Humphreys took over vocal duties for ‘(Forever) Live and Die,’ his smooth delivery washing over the audience like a warm wave of nostalgia.
Midway through the set, the opening chords of ‘Talking Loud and Clear’ sent a ripple of recognition through the venue, fans swaying in unison, eyes closed, lost in a moment. And then came the anthem: ‘Dreaming’—blasted through the stadium like a jolt of electricity, its urgent, bouncing synths igniting the crowd into a euphoric frenzy.
Then came "Enola Gay." The iconic anti-war anthem sent shockwaves through the stadium, its urgent synth riff as haunting as ever. As the final notes rang out, McCluskey turned to the audience, blew a kiss, and mouthed, "Thank you." A simple gesture, but one that carried the weight of nearly four decades.
The highlight of the night wasn’t just the band’s flawless performance—it was the way McCluskey continued to laugh at himself, inviting the audience to do the same. He didn’t shy away from the inevitable ageing rock star jokes; instead, he embraced them. And in that moment, his rag-doll dance wasn’t a flailing attempt at youthfulness but a full-on celebration of being unapologetically, un-coordinatedly, gloriously human.
OMD delivered a performance that was more than just a greatest-hits package—it was a celebration of a band that continues to inspire and innovate. The night was a neon-lit, synth-drenched, time-warping triumph. And as the crowd spilled out into the humid Auckland night, one thing was certain: the future may be digital, but OMD will always have a place in it.
Reviewer: Paul Marshall
Photography by Paul Marshall
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