Andy McCluskey leading Orchestral Manoeuvres In The Dark on the first night of Live At York Museum Gardens. All pictures: Devon Chambers
ORCHESTRAL Manoeuvres In The Dark’s Summer Of Hits opened this Summer of Hot’s trio of concerts in Futuresound’s third Live At York Museum Gardens season.
Oh yes, it was hot, absurdly hot, hot enough to bake a pizza on the Yorkshire Museum walls, if you could cook a pizza sideways, as if in a Salvador Dali painting.
There will be no respite for Self Esteem’s Friday bill or today for Super Furry Animals (not a state of fur coverage any would want right now), so come prepared. Spray on Factor 50 sun cream, advises Futuresound project manager Rachel Hill. Look out for the water stations too to top up bottles.
The site lay-out changed from the first festival to the second, when the stage switched architectural backdrop from the Yorkshire Museum to the St Mary’s Abbey ruins, and further changes have come into play for 2026: a sure sign that Futuresound and York Museums Trust respond positively to suggestions.
Andrew Cushin, in retro football shirt, kicking off day one of Live At York Museum Gardens
Large screens have been placed to either side to enhance the viewing experience (last year, standing at the back, your reviewer struggled to see a head let alone Elbow, before being accommodated most kindly in the Ambulant seated area for Richard Hawley).
The Premium ticket experience has improved vastly too: separate entry via Exhibition Square; commodious bar (well stocked but no gin, presumably deemed too depressive for a festival) ; Indian and bao bun food vendors; seats and bean bags dotted around the gardens, away from the stage but within hearing range.
The Premium viewing area has expanded too, still by the Yorkshire Museum, still with reserved Ambulant seating, but now with a steeped bank of terracing, like the most spacious football Kop ever. Out-standing improvement, indeed.
Futuresound make good decisions: first in setting up Live At York Museum Gardens, then adding a Sunday comedy festival, then bettering the festivalgoer’s experience. The Leeds event promoters also pick the headline acts really well, whether home-crowd favourites Shed Seven’s 30th anniversary celebrations and Jack Savoretti in 2024 or Elbow, Hawley and Nile Rodgers & Chic last summer.
China Crisis frontman Gary Daly, dressed for the beach, at Live At York Museum Gardens
In 2026, headliners OMD, Self Esteem and Super Furry Animals each will appeal to a different pop/ rock demographic – Eighties, Gen Z and Nineties respectively – and the supporting bills offer enticement aplenty to arrive well before the 8.30pm last entry.
Andrew Cushin, Newcastle’s latest singer-songwriter protégé, came and went before your reviewer settled in by the museum wall to see China Crisis lead singer Gary Daly dressed appropriately for the weather: white T-shirt and green shorts (the de rigueur dress code for the men in the crowd too).
The Kirkby synth-poppers would be playing for only 30 minutes, so he would cut “the chat”, said the normally notoriously loquacious Daly after only two songs in the opening ten. Christian, “Jeremy Vine favourite” Arizona Sky, Black Man Ray, Wishful Thinking and King In A Catholic Sky were all reminders of how the Liverpool School of Melody DNA passed through them so delightfully.
We Don’t Need This Fascist Groove Thang T-shirts (without the brackets of the song title) heralded the presence of Heaven 17 devotees in the sold-out crowd. One, called Sumo, had been to 217 gigs (one more than lead singer Glenn Gregory, Glenn revealed, after Sumo turned up for a show in Canada but illness had put paid to the Sheffield electronic pioneers’ appearance).
Heaven 17 fans wearing We Don’t Need This Fascist Groove Thang T-shirts at the front of Friday’s sold-out crowd
Like Daly, Gregory likes to talk, to tell stories, as sharp of tongue as his tailoring in white suit, blue shirt and shades. Keyboardist Martyn Ware favoured sparkling hat and jacket, joined on stage by a drummer and Carrie, Rachel and Florence (keyboards and backing vocals).
We Don’t Need This Fascist Groove Thang, the first song Heaven 17 wrote after Ware and Ian Craig Marsh split from Heaven 17 in 1981, was given a 2026 re-boot, with ‘Trump’ replacing ‘Reagan’ in the lyrics. “We don’t need this Farage groove thang,” Gregory said afterwards, urging support for Count Binface in the Clacton by-election.
Introduced as “Kim Wilde walked down the aisle to this one”, Come Love With Me Come was a particular joy, while the “Giorgio Moroder tribute”, I’m Your Money, was segued with Donna Summer’s I Feel Love. Gregory and co then went the full cover-version hog on David Bowie’s Let Dance, rivalled only by the climactic Temptation for impact.
“Enjoy Orchestral Manoeuvres, I know I will,” enthused Gregory, later to be spotted in the crowd doing exactly that. It still wasn’t dark when OMD emerged on stage after a futuristic film projection, and nor would there be any “orchestral manoeuvres”, but all dressed in black (ah, there’s the dark), frontman Andy McCluskey and keyboardist Paul Humphreys (in specs) were joined by Martin Cooper on keys and saxophone and Stuart Kershaw on drums.
Martyn Ware and Glenn Gregory of Heaven 17: Still playing to win after 45 years together at Live At York Museum Gardens
In this digital age, OMD can replicate their recorded electronic sound to perfection, says McCluskey, although there was still room for him to forget the same words twice in one song, met with an invitation to the audience to jump.
Imagery ran throughout their set on a screen that spanned the whole of the stage, changing for each song, switching between colour and black and white, much in the manner of Public Service Broadcasting’s concerts.
True to their billing, the Summer Of Hits meant playing all, not some of their hits, with the oh-so-familiar standouts of the brace of Joan Of Arcs, Souvenir, Forever Live And Die and Sailing On The Seven Seas, plenty of peaks, the occasional trough, and a magnificent version of Enola Gay, to the haunting accompaniment of atomic bomb footage.
Walking On The Milky Way was ruefully reflective, if defiant, of the passage of time and what else but Electricity could crackle through the night sky to meet the 10.30pm curfew bang on.
The crowd watching the climax to Orchestral Manoeuvres In The Dark’s set as darkness descends on Live At York Museum Gardens
