“Prepare to be mesmerized,” said Cy Curnin early into an unexpectedly complete and vital sounding performance by The Fixx last night at the Christ the King Oktoberfest.
Normally, such a remark could be chalked up to standard rock star boasting made even more idle by the fact the veteran British pop band has been out of the commercial limelight for close to three decades. But on multiple levels, Curnin proved he and the Fixx have earned bragging rights.
The bottom line: Curnin was physically and vocally fit, the band (operating with the same lineup that became an MTV hit in the ‘80s) played with vigor and mature purpose and the sound mix was refreshingly crisp, especially for an Oktoberfest show. Add in a repertoire that balanced ‘80s radio hits (Saved by Zero, One Thing Leads to Another), deep catalog obscurities (1983’s Running, 1988’s Subterranean) and a healthy quartet of tunes from its best album in 25 years (2012’s Beautiful Friction) and you had a show that way outdistanced the usual oldies act entertainment billed for a community festival.
The sound was the real stunner, partly because the first third of the previous night’s Oktoberfest performance by the Smithereens sounded like the band was playing on a different block. But here the balance was astonishingly clean, offering decisive balance between the array of keyboard orchestrations by Rupert Greenall and the library of rhythm phrases by guitarist Jamie West-Oram. Hearing the two’s playing form a trance-like backdrop behind Curnin’s conversational vocals during the title tune to Beautiful Friction underscored the fact that the Fixx entered the into the program last night as a band that viewed its entire sound and song catalog as being completely of the moment.
Of course, it was very much the band’s ‘80s hit parade that kept Oktoberfest packed last night. Even there, surprises surfaced. Stand or Fall, the 1982 single that largely introduced The Fixx to America, was a kaleidoscope of clean guitar, keyboard and vocal colors while the encore finale of Secret Separation weaved in the chorus of the Tina Turner hit Better Be Good to Me (the 1984 single featured Curnin and West-Oram) to cap a performance that was as much an affirmation as it was pop history lesson.