Continuing my tour of gig venues across London in 2025 (17 stops so far and only two repeats — at this rate, I might as well be in a band myself), last Wednesday night saw me make my first visit to Piccadilly-based venue One Ninety Four.
Once I actually found it, that is.
Google Maps cheerfully announced “you have arrived,” yet nothing around me screamed gig venue — just a sea of glossy shopfronts, posh restaurants, and tourists milling around in a blur of shopping bags. I eventually asked at least two people for directions before spotting a discreet little sign outside what looked suspiciously like a boutique hotel.
Inside, I was still a little confused — a polished bar, a “private area” roped off, and bathrooms labelled “washrooms.” Not exactly your typical punk gig setting. Then, like some kind of underground secret, I spotted a few casually dressed people disappearing down a staircase. I followed — and there it was: the event space. Dimly lit, compact, and humming with that pre-show buzz that always feels like anticipation wrapped in static.
There was no support act, so it was a bit of a wait for Wendy James to take the stage. The crowd was made up mostly of people who’d been teenagers in the late ’80s during her Transvision Vamp era — meaning, for once, as a millennial, I was one of the younger ones in the room.
When Wendy finally hit the stage, the energy shifted instantly. Dressed in a Transvision Vamp tee shirt, she introduced her band with an easy swagger before launching into Transvision Vamp’s cover of “Tell That Girl to Shut Up.” Within seconds, it was clear she’s lost none of her spark or attitude — the years may have passed, but the fire is absolutely still there. The crowd roared, dancing and singing like it was 1989 all over again.
The set mixed tracks from her solo catalogue with plenty of Transvision Vamp classics. The upbeat, punky numbers had the whole room moving — “Do You Dig It, Do You Love It, Is It Groovy” and “Speedball” in particular crackled with energy — while slower moments like “Farewell to Love” allowed her to show off just how strong her voice remains. There’s a warmth and richness to her tone that feels even more powerful now; experience has only sharpened it.
As a punk lover, my favourite moments were inevitably the harder, faster tracks — “Speedball” was an electric standout — and of course, the penultimate song before the encore, the Transvision Vamp anthem “Baby I Don’t Care.” The room practically erupted; it’s one of those songs that still sounds utterly euphoric live, a perfect pop-punk explosion that hasn’t aged a day.
For a band nearing the end of a long, exhaustive tour, the energy onstage was impressive. The whole set felt vibrant and celebratory — the kind of night that reminds you why live music is such an essential, life-affirming thing.
Setlist:
Tell That Girl to Shut Up
Do You Dig It, Do You Love It, Is It Groovy
Speedball
You’re So Great
Farewell to Love
I Want Your Love
Perilous Beauty
You’re a Dirtbomb, Lester
A Big Vicious Rumble
These Beggar Memories
You’re a Good Man, Sister
You Tell Me
I’m Freaking Out
Baby I Don’t Care
Encore:
The Impression of Normalcy
If Looks Could Kill
Bad Valentine
The Shape of History
Wendy James continues to prove she’s one of the most magnetic performers to emerge from the late-’80s alt-pop scene — and one who’s never lost her edge. Catch her and the band on their upcoming Transvision Vamp European tour — dates can be found here
Wendy James Socials-Facebook/Instagram
Review and Photos by Hayley Foster da Silva
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