Review: 10cc at Astor Theatre
10cc’s The Ultimate Ultimate Greatest Hits Tour at Astor Theatre
Monday, August 5, 2025
10cc‘s performance at Astor Theatre unfolded as a relentless, meticulously curated cascade of their greatest hits, fulfilling founding member Graham Gouldman’s promise to deliver a night of pure nostalgia and musical brilliance. The opening number, The Second Sitting for the Last Supper, with its poignant “rags to riches” narrative, immediately captivated the audience. The vocal harmonies were nothing short of perfect, intricately woven and delivered with a precision that has become a hallmark of 10cc’s sound. This was complemented by extended, impressive solos on both guitar and keyboards, showcasing the individual prowess within the band.
The setlist continued with beloved classics such as Art for Art’s Sake, featuring Rick Fenn’s distinctive electric guitar work; the wonderfully eccentric Life is a Minestrone; and the sharp, witty Good Morning Judge. A particularly engaging moment during Good Morning Judge saw the keys player seamlessly switch to bass, a nod to the song’s special significance for Rick Fenn, marking nearly 50 years since he was invited to join the band.
The journey through their discography continued with The Dean and I, a track from their very first album, brought to life with additional vocals, guitar, and percussion by Andy Park. This was followed by the melancholic Old Wild Men and the brilliantly quirky Clockwork Creek, a true standout with its unique and humorous dialogue between a plane and a bomb that drew chuckles from the audience. Paul Burgess’ drumming prowess truly shone during Song 8, leading into the infectious groove of Wall Street Shuffle.
A fresh highlight of the evening was Floating in Heaven, a new composition inspired by the stunning images and discoveries from the James Webb Space Telescope—a project Graham Gouldman admitted to following closely via NASA. The recorded version of this track notably features the legendary Brian May, adding another layer of intrigue. A brief technical hiccup occurred midway through the set, causing the band to momentarily leave the stage for about 10 minutes. However, they handled the interruption with professionalism and quickly returned, picking up the momentum without missing a beat and diving back into more crowd-pleasing numbers.
The energy remained consistently high with spirited renditions of Things We Do For Love and the playful Silly Love. Graham Gouldman took a moment to address the audience, reflecting on the conclusion of their extensive tour, which had encompassed four dates in New Zealand and sixteen across Australia. He expressed sincere gratitude to each member of the road crew, highlighting the vital role they play in bringing the show to life. Throughout the entire performance, Keith Raymond displayed remarkable versatility, skilfully navigating between keys, bass, and guitar and providing strong vocal contributions, proving himself an invaluable asset to the band’s rich sound.
The main set drew to a close with two of their most iconic tracks. I’m Not In Love began with its instantly recognisable, atmospheric sample, enveloping the venue in its unique soundscape. This was followed by the universally adored Dreadlock Holiday, with the entire audience joyfully singing along to the memorable refrain, “I don’t like reggae, I love it!”
For the eagerly anticipated encore, an additional microphone was strategically placed on stage, hinting at a special vocal performance. The band then delivered a stunning, entirely a cappella rendition of Donna, their very first single, which beautifully evoked the harmonious precision of a barbershop quartet. The night reached its explosive climax with Rubber Bullets, a high-octane finale that left the audience thoroughly energised and completely satisfied.
10cc unequivocally proved that they remain masters of their craft, delivering hit after hit with an enduring passion, meticulous precision, and an unmistakable connection with their devoted audience. It was an incredible night filled with timeless music and impressive musicianship that solidified their legendary status.
ALEIGHSHA GLEW
Photos by Linda Dunjey
