Cult Following has requested comment from Sparks’ team to confirm whether this was, indeed, performed from the surface of the Moon. Live on the Moon features the brotherly duo rightfully lapping up a wave of newfound interest from modern audiences and artists. The last five years have proven monumental for Ron and Russell Mael. Between a feature spot on Gorillaz’ The Mountain, a cover of This Town Ain’t Big Enough for Both of Us from The Last Dinner Party, and an Edgar Wright-directed documentary, interest in Sparks has renewed. The Girl is Crying in Her Latte felt like a farewell, particularly with album closer Gee, That Was Fun having all the hallmarks of a final curtain call. But between Mad!, Madder!, and Live on the Moon, it appears Sparks are shifting gear again. They’re enjoying a period of broader cultural relevance, one that extends beyond being the favourite band of your favourite artist. Live on the Moon showcases why the duo has been in high demand these last few years.
Mael still sounds sensational. So May We Start is an obvious opener, but it works well. Somewhat like The Rolling Stones’ Start Me Up, where having it anywhere but first feels like a mistake. So May We Start works beyond its title though and serves as a wonderful way to warm up the crowd. Not too heavy a first song, though not a niché piece of work either. A fine balance is found before Do Things My Own Way, a standout from their recent works. Stripped back a tad to let Russell Mael’s vocal stylings work their magic but there’s plenty for Ron Mael to add to the song. Sparks is an instrumentally tight experience. Live at the Moon showcases, song after song, how the band is still an exciting, liberating live force. It does Sparks a disservice to describe their work as kooky or off-kilter, but it is, and it shows in the performances of Reinforcements and Academy Award Performance. Two delightful moments that highlight just how much synth and electronica has meant to the duo. Giorgio Moroder’s production style can be heard all those years later.
Genre-jumping work is what Live on the Moon provides. From glam rock thrills on Running Up a Tab at the Hotel for the Fab to those synth-adjacent thrills, Sparks is a band performing with multitudes. Strong performance is built not just on that quality vocal lead from Russell Mael but on the instrumental variety the backing band offers the duo. Drowned in a Sea of Tears highlights this best of all. An explosive piece of work that feels like it’s under the pressure of that need to inspire, as Sparks so often do. When Do I Get to Sing My Way is another thrilling showcase of the duo’s talent. Those instrumentals coming together as part of the stage presence pull on the core of the song, adding layer after layer of necessary instrumental context. All of that to say, it brings your attention to Russell Mael’s incredible vocal range.
He has maintained his voice as well as Neil Young and Mick Jagger. He has barely lost a step in the range he has, hitting the high points and pushing on through in a set that would wipe out those with a lesser conviction in vocal quality. Sparks are an unrivalled live experience, by the sounds of Live on the Moon, anyway. Whoever is lucky enough to catch them on their next tour, should there be one, would do well to treat themselves to a listen of Live on the Moon. They’re a magnificent-sounding live lineup where the vocal quality remains the same, but the instrumental variations are enough to keep the songs breathing, refreshed and ready to engage. They’re exploring art-rock thrills on a deeper level than their studio work often allows. Live on the Moon is a wholly new and necessary experience that’ll win over those who may be ambivalent on Sparks. For fans, this is a must-listen.
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