Sheffield

THE UNMANNED stage set is the first whiff of something new and mysteriously different.

The mixer is positioned on stage rather than at the rear of the hall. The intention being for the musicians to hear the same 'finished' sound that reaches the ears of the audience.

A double necked guitar/bass hangs suspended by a thread dangling from a lamp. This conserves the neck muscles of Dave Stewart. An organ sits atop an old school desk flanked by a bucket of drum sticks and a saxophone.

Another shock is still in store. When the four piece appear Annie Lennox sports a daringly-crazed black wig. "She used to be blonde" whispers half the crowd. Her topping combined with a similarly-coloured sequinned dress turns her performance into a kind of puppet like parody of the common-or-garden pop singer.

Sheffield Poly's modern hall is somewhat larger than the room dimensions stipulated pre tour. Consequently the tiny, compact PA (set up in thirty-five minutes with no roadies required, originally transported by horse box) has to be used at full power causing the sound at the back to lack definition and clarity, and the subtleties of the opening few songs get lost in a muffled ocean of monotonous noises.

Closer to the front, however, things aural are of extremely fine order. Only about half the repertoire is drawn from the excellent 'In The Garden' long player (produced by Conny Plank who, all things considered, is much more of an influence than the ghost of the Tourists).

The first single, ‘Never Gonna Cry Again' garners the biggest response from a modest turn out, most of whom warm to the band after their initial astonished reaction to the set up. The group reciprocate by gelling staggeringly well during the last four or five numbers.

A real surprise is the heavenly synth and keyboard dominated version of Lou Reed's 'Satellite Of Love'. Finally they encore and leave for good with a strident march through 'Revenge'.

In these early days Eurythmics are pioneering a willingness to try anything. If it makes a sound, use it. Dave attacks his guitar with drum sticks, and percussion may be machine originated but humanly manipulated for repetition avoidance.

But inevitably this approach is hit or miss. Annie points a transistor radio at the mic but can't find a station. Adam, mixing, singing and synthing, is perhaps over busy. This needs thinking about.

But they are thinking. While rushing others are tripping over their hairstyles, Eurythmics are carefully finding their feet.

In the future many may well care to tread in their footsteps.