Neil Tennant sets the tone at the start of the evening, stating with a charming pause, “Tonight… no hits!” The audience erupts in applause. He playfully hints at the possibility of B-sides and album tracks, referring to them as “fan favorites.” It is a unique occasion for the lead singer of a groundbreaking pop group to declare that some of their most iconic songs—such as “West End Girls,” “Always on My Mind,” and “Rent”—will not be performed, yet still receive a warm reception. The Pet Shop Boys have been touring with their “Dreamworld” greatest hits show since 2022, which has largely prioritized their popular tracks over their lesser-known but noteworthy 2024 album, “Nonetheless.” While the band has enjoyed significant success in recent years, their more niche content has been somewhat overlooked.
This five-day series of intimate performances at Camden’s Electric Ballroom aims to address that imbalance, showcasing songs that exist on the fringes of their discography. The tour, aptly named “Obscure,” coincides with the release of a book detailing their carefully curated visual history. Tennant and his synthesizer partner Chris Lowe revealed that they had rehearsed 35 tracks from their extensive 42-year career. Their dedication to the single format, which often includes thoughtfully crafted B-sides and remixes, opens up a vast array of possibilities. One enthusiastic fan even created a playlist of 226 B-sides and non-single tracks, questioning whether it captured everything. Tennant holds a tray of lyrics, a sensible choice since two of the songs tonight are making their live debuts, while others have not been performed in decades.
In this intimate setting, Tennant’s joy is palpable as he witnesses the audience’s familiarity with the band’s catalog. He beams during the singalong for “Will-o-the-Wisp” from 2020, showcasing his distinct vocal style. The crowd enthusiastically chants “zero! zero! zero!” during “Two Divided by Zero,” the opening track from their debut album “Please.” Cameras are raised to document the historic moment when “Jack the Lad,” a B-side from 1986, is performed live for the first time, telling a whimsical story about a character torn between caution and temptation.
Interestingly, the softer tracks take center stage during the evening, as the upbeat numbers serve as reminders of their more popular counterparts. This concert reveals the tender emotions often concealed beneath their pop personas. The atmospheric “To Face the Truth” (1990) evokes feelings of disappointment, with Tennant expressing deep emotion as he places a hand on his stomach during the chorus. The poignant “Do I Have To?” (1987) reflects a painful acceptance of mistreatment, featuring some of Lowe’s most beautiful piano work. “King of Rome” (2009) envelops the audience with its rich horn arrangements, while Tennant’s voice adds a layer of intimacy.
At times, Tennant adopts the persona of an elegant quizmaster, engaging the audience in trivia about B-sides and showcasing the band’s in-depth knowledge of their own history. A medley that includes “One in a Million” from 1993 and Culture Beat’s “Mr. Vain” marks its first performance since 1994 in Latin America, featuring their talented backing vocalist Sylvia Mason-James. As the main set concludes with “The Performance of My Life” from 2005, Tennant reminisces about the “wonderful old-fashioned drag queens” they encountered in a nearby pub during their early recording days, echoing a sense of nostalgia and longing in his lyrics.
The Pet Shop Boys excel at preserving their musical legacy, and the varied audience reactions to each song highlight the diverse personal connections listeners have with the music. Although many of these tracks are now available on streaming platforms, they were once hidden gems on the B-sides of popular 7-inch singles. Fans likely recall moments spent in their teenage rooms, listening to “Your Funny Uncle” (1989), a heartfelt tribute to a friend lost to AIDS. This cherished obscurity opens the encore, featuring Tennant on solo piano, creating a striking contrast between timeless romanticism and contemporary tragedy.
The band acknowledges the passage of time, with Tennant cheerfully noting, “I can still sing that note,” referring to the distinctive “bay-beh!” of “Why Don’t We Live Together?” from 1986. Yet, they remain forward-looking. The final song, “I Dream of a Better Tomorrow,” is being performed for the first time and is drawn from “Naked,” their unreleased stage production inspired by “The Emperor’s New Clothes.” It carries a message of hope and renewal, suggesting that change is on the horizon. As the “Dreamworld” tour continues with ten additional dates planned for the summer, this week’s unexpected and refreshing performances serve as a reminder of the power of sharing new narratives each night.
