Nik Kershaw talks about his upcoming tour and eighties fashion.
Eighties icon Nik Kershaw will be performing at Birmingham Symphony Hall as part of the 80s Classical package. Before then he spoke to us.
80s Classical reimagines your music with a full orchestra. What was your first reaction when you heard your songs would be given this kind of symphonic treatment?
“I was first approached about this around five or six years ago, when we started doing 80s Classical at Millennium Square in Leeds, and it quickly became a regular event. I already knew Cliff Masterson, who runs and orchestrates the whole thing, and when he told me about the concept, it just felt like a great opportunity- not to reinvent the songs, but to approach them from a completely different angle.
“There’s something truly magnificent about performing with an orchestra. I’ve loved classical music since I was a kid- I used to listen to it a lot and go to the Proms with my parents, so to now find myself on stage with a full orchestra is a very special experience. It’s quite humbling, really. You realise you’re just one small part of something much bigger.
“Hearing songs that you originally pieced together with a band in a studio all those years ago being brought to life with that kind of scale and attention is an incredible thrill.”
What do you think orchestral arrangements bring to 80s pop songs that you can’t achieve in a standard live band setup?
“It’s just a different kind of experience. I wouldn’t necessarily say it’s more of a night out, but it’s certainly a different one. You can almost pretend you’re being a bit sophisticated for the evening!
“An orchestra brings a real sense of scale to the music. It gives the songs a kind of weight and richness that you don’t get with a standard band setup. There’s a gravitas to it- it somehow makes the songs feel bigger, more important.
“And Symphony Hall is a pretty special place to experience that for the first time. I’ve played there several times over the years, including when I was touring with Go West, and it’s just a fantastic venue. The acoustics are incredible- it really is a beautiful space to perform in.”
Looking back, what do you think defined the sound and spirit of 80s pop music?
“It was a time when music technology was really taking off. Suddenly there were all these new Japanese keyboards and sampling machines, and people were experimenting with them in ways that really shaped the sound of the decade.
“But beyond that, what stands out to me is just how varied the charts were. You could have someone like Matt Bianco alongside folk, American rock, straight-up pop- pretty much every genre you could think of all sitting in the Top 10 at the same time. It felt incredibly diverse, and I don’t think you see that in quite the same way now.
“There was also a deeper connection between audiences and music back then. People really bought records, collected vinyl, and invested themselves in artists. It felt like a more immersive experience. Interestingly, vinyl is making a comeback now, which is great to see, and definitely a positive thing for artists.”
You’ll be sharing the stage with Johnny Hates Jazz and Jaki Graham. What’s the dynamic like when you tour with other iconic 80s artists?
“Well, none of us get on – only joking! No, it’s great, I get on with everyone. Jaki Graham and the Johnny Hates Jazz guys are all just lovely.
“What’s interesting is that, over the years, especially since the retro festivals really took off in the mid-2000s, I’ve become friends with people I didn’t even meet back in the day. We’ve all been through similar ups and downs in our careers, so there’s a shared understanding there. It makes for a really nice atmosphere – everyone’s genuinely happy to be there, and there’s a real sense of gratitude that people are still coming out to hear the songs.”
Does performing alongside an orchestra change how you approach your vocals or stage performance?
“It really depends on the song. For most of them, it doesn’t change things too much – I still go on stage and sing them as I normally would. But there are a couple of arrangements that I’ve worked on with Cliff Masterson where the orchestration is a bit more subtle or more interpretive, and in those cases, I do have to be more conscious of what’s happening around me.
You end up listening and responding to the orchestra in a different way- it becomes more of a conversation. You feed off what the orchestra is doing as well as your own part, and that’s actually a really enjoyable way to perform.”
Why do you think 80s music continues to resonate so strongly with audiences across generations?
“I see people of all ages coming to these concerts, particularly over the last five or six years since COVID. There are the loyal fans who’ve been coming for years, often bringing their children along, which is something I’ve seen for a long time now.
“But what’s really interesting is seeing a younger audience too, teenagers or people in their early twenties. You speak to them afterwards and ask, ‘What are you doing here?’ and quite often they’ll say they’ve found my music on YouTube and wanted to come and see a show.”
How do you balance nostalgia with keeping the music feeling fresh and alive in performances like this?
“I went through a period, like I think a lot of 80s artists did in the early 2000s, where I was a bit fed up with playing the older songs. Especially when you’re releasing new material, you want people to connect with that, so you can start to feel a bit resistant to the back catalogue.
“At one point I even started changing the arrangements quite a lot, just to keep things interesting for us as a band. But you quickly realise the audience isn’t always on board with that- they want to hear the versions they know from the records. And I get that, because it’s the same for me when I go and see artists I loved as a teenager. So, I’ve really come full circle. The songs I play now are actually closer to the originals again, but they still feel fresh because they’re performed live every night- slightly different each time, with a different crowd and a different energy.
“I’ve reached a point where I don’t feel the need to constantly “rework” them anymore. I have a much deeper respect for the songs now, and I realise how much they’ve meant to people over the years- and how good they’ve been to me as well. It’s a real pleasure to share them now, rather than something I feel I need to keep reinventing.”
The 80s are often remembered for big hair and big anthems. What’s one cliché of the decade you’re happy to reclaim?
“I don’t know. I’ve got a sense of humour about all of it really. There was definitely a period where I was quite embarrassed by a lot of the 80s stuff – videos, fashion, all of those so-called faux pas. But if I had to pick one thing, I’d say shoulder pads. I think they should make a comeback, if they haven’t already and I’ve just missed it They’re actually brilliant. They do a lot for you, especially if you’re not particularly tall like me. They give you a bit of presence – you end up with broader shoulders and a smaller-looking head, which is always a bonus!”
Do you have any particular memories or standout moments from past performances in Birmingham that you’re especially fond of or that you really enjoyed?
“I’ve got really fond memories of playing in Birmingham over the years. I played the Odeon back in the day, and those were fantastic gigs – really great crowds. More recently I’ve played Birmingham Town Hall doing some solo acoustic shows, which is a brilliant venue as well. I just remember Birmingham audiences always being really warm and enthusiastic. And of course,Symphony Hall is just outstanding. The last time I was there was probably about ten years ago with Go West, so it’s been a while. I’m really looking forward to coming back.”
Nik Kershaw will perform at Symphony Hall Birmingham as part of 80s Classical on Thursday 11th June at 7.30pm. He will appear alongside Jaki Graham, Johnny Hates Jazz, and the Orchestra of Opera North. Further information and tickets are available here.
