nick heyward on tour

NICK HEYWARD

Just announced – nick heyward 2024 uk tour.

2 months ago

18.10 Basingstoke, The Haymarket 19.10 Bury St Edmunds, The Apex 22.10 Sunderland, The Firestation 23.10 Sale, Waterside Arts Centre 24.10 Leeds, City Varieties 26.10 London, Cadogan Hall 30.10 East Grinstead, Chequer Mead 31.10 Hove, The Old Market 02.11 Stroud, The Subscription Rooms 08.11 Milton Keynes, The Stables 09.11 Wimborne, Tivoli Theatre

Join Nick and his four-piece band for songs from across his entire 40+ year career with a preview of new material.

Following a huge 2023 with Haircut 100 playing the BBC Radio 2 Piano Room, a sell-out London reunion show at the O2 Shepherds Bush Empire and a joyous tour of the UK and Ireland; Nick Heyward sets off on his first solo tour since the critically acclaimed Woodland Echoes album release tour in 2018.

Isabella Coulstock announced as support for autumn tour

Haircut 100% live, 6 may 2023 - warm-up show announced.

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Nick Heyward tour dates 2024

Nick Heyward is currently touring across 1 country and has 11 upcoming concerts.

Their next tour date is at The Haymarket in Basingstoke, after that they'll be at APEX BURY in Bury Saint Edmunds.

Currently touring across

Upcoming concerts (11) See nearest concert

The Haymarket

The Fire Station

Waterside Arts Centre

City Varieties

Cadogan Hall

Chequer Mead Theatre

The Old Market

Subscription Rooms

The Stables

Tivoli Theatre

Past concerts

Pizza Express - Holborn

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Recent tour reviews

Was a fantastic concert, Nick Heyward was brilliant. He seemed a really nice, lovely guy. Had a great night. Would recommend going to see Nick Heyward in concert. Venue was nice, small but had a lovely atmosphere. The team at the venue were friendly.

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Took my good lady to see Nick Heyward acoustic session @ The Flowerpot Derby, my first visit to this music venue which l've wanted to do for a some time now, seizing the opertunity knowing and listening and enjoying Nicks style of music since the days of Haircut One hundred plus his session @ Newark Festival last year l could'nt miss this night, it was a ( Fantastic nighhhht ) had by all even my good lady was singing along needless to say it was a great night great gig Nick and the boys done a great job, not only did Nick sign my personal pictures for my wall of fame but myself and the wife managed to get a pic with him great guy and took time with every fan to speak with them and sign there memorabilia will see him again Thanks for a great night.

"Everybody's Young And Far Too Serious"

As part of a somewhat belated tour to promote last year's Woodland Echoes album, his first release of any kind since 2006, Nick Heyward made his way to the O2 Academy in Liverpool on Saturday evening [2 June] to play for an (in certain cases, over-)enthusiastic audience.

Naturally, most were present on the strength of his earliest and most popular work with Haircut One Hundred on Pelican West and his solo début North Of A Miracle, which between them birthed seven successive Top Twenty singles in the UK and both reached the Top Ten in the album chart. In the 35 years since, he's only graced the Top Forty with three 45s (two in 1984 and the last in 1996).

As such, and combined with his continued presence on 80s revivial tours, the gig could have been a total exercise in nostalgia despite having the new material to plug. This was something he did allude to during the lengthy hour and forty five minutes-long set - "it's nice to be able to play more than the same six songs for a change" - but he was more than game in giving the crowd most of what they'd come for.

Indeed, it wasn't until almost halfway through before one of the Woodland Echoes tracks was aired ['Who?'] following the opening salvo of most of those hits - was it brave or foolhardy to start with 'Love Plus One'? - which were all received rapturously to try and prepare the ground for that far less raucous (and commerical) Van Morrison-esque number.

Attention spans not being what they were, the lesser known songs during the second half (including an enthusiastic cover of 'Doctor Robert', which he appears to have been doing throughout the current UK jaunt, rather than being a nod/appeasement based on last night's location), were the cue for a number of trips to the bar and (worse) a lot of intrusive and overly loud conversations.

But such is the lot of the live gig goer these days - a large-ish minority just seem to want to be (and be seen) at shows, rather than engage with and listen to the performer (unless it's via their smart phone screen, of course).

However, the 'reward' for 'putting up' with some new stuff was a conclusion that consisted of an extended version of 'Favourite Shirts (Boy Meets Girl)' to close the main set ahead of a one-song encore of 'Fantastic Day' to end proceedings on a high and send everyone heading home (or (back) to the pub) happy, having had a bit of a bounce around to something that may well have soundtracked similar exuberances in their younger days.

All in all a very enjoyable evening, with a still ridiculously youthful-looking Heyward, who turned 57 a couple of weeks ago, in fine form supported by an excellent younger backing band, that in turn got their chance to shine and take a solo during that longer rendition of 'Favourite Shirts'. (8/10)

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Nick Heyward

Latest setlist, nick heyward on november 24, 2023.

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Nick Heyward interview: “I’ve put the feelers out within the band”

By Ian Wade | February 14, 2022

In this exclusive Nick Heyward interview, the former Haircut 100 frontman remembers that giddy period at the beginning of the 1980s when they were one of the biggest bands in the UK…

Y our very first appearance on Top Of The Pops is an important milestone in the timeline of any young band . For many it brings a dreamy sense of wonder, for some, specifically Haircut 100’s Nick Heyward , it very nearly brought back the contents of his stomach.  

All these years on, Nick Heyward reflects: “Being on Top Of The Pops , I remember just feeling ill when I watched it back. I felt nauseous and ran into the toilet. I was gagging, but I didn’t actually puke up because I don’t think I was eating anything. Because I didn’t think I had anything for the whole time back then. I think I might have had a sausage roll.”

The Haircuts’ initial ambitions were fairly modest back then, says Nick.

“We actually thought we were kind of like Shakatak. We’re playing Hicks’s, Cinderella’s – the same tour that Shakatak had just done, and I-Level – lots of funk bands, and we’d been on that same circuit. That’s what we thought we were. But, you know, I was comfortable with it. I just wanted to be Talking Heads.

“When the early reviews were ‘this is Britain’s answer to Talking Heads ’, I was just so pleased, I thought: ‘This is it, wow, you can’t get much more than this!’ As long as I was playing with The Fire Engines or something and on the same bill as the bands that I loved, then that was it really.”

While Nick knew he had something with Favourite Shirts , he wasn’t expecting it to be quite so big, “I do remember the test pressing at Club For Heroes downstairs, and there wasn’t many people on the dance floor. But I gave it to Steve Strange who was on that night to play, and it was the 12-inch. It went on and people didn’t leave the dance floor, which was fantastic. And then other people joined the dance floor. And before long, there was lots of people on there. And I thought: ‘Wow, this is something actually’.”

The fame and Smash Hits covers and pin-up status were regarded simply as a nice bonus, but it wasn’t something the Haircuts were actively tracking down.  

“It’s an interesting thing, I remember because Judy Totton, who was our press agent, has just passed away and it made me reflect on that time. It was Judy that said to me, ‘Do you want to do these magazines?’ And so it was a conscious decision. I was told that everybody was doing them. But I do remember thinking ‘I’m not sure about courting them.’

“But did I want to actually go and do a photo session? I remember thinking it was a big decision. But Depeche Mode had done it. And we knew the guys in Depeche Mode, who were lovely. You know, we kept meeting them everywhere. We felt like a kinship with these people.”

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It wasn’t all tumultuous debates being a pop star for Heyward though, especially in that first flush of success, “It was so weird to be famous, because it didn’t look possible when I was growing up, and so the reality of it actually happening was overwhelming”, reckons Nick. “Everything was so wonderful. Coming into the 80s as well, everything seemed to brighten up, lighten up.

“We’d had some dismal times during the 70s. So this was a sort of new decade and optimism was around. I mean, I know that the Falklands War was kicking off and it was full Conservative government at that particular time. I think everybody was just used to this fact of how everything was unfair, and so music was the only escape that didn’t really look unfair.”

“I’d been living up in London anyway. I knew all the clubs, I knew the nooks and crannies, I knew everything that was going on. I’d follow that culture meticulously. It was literally like having a thermostat on the wall, and you knew what the temperature was at any given moment.

“I knew every gig going on when punk was happening. I would see myself as pretty much an expert on London culture through the late-70s. Living in London and being there, and punk kicking off up Kings Road, and then in 1982 walking around London and not being able to walk around without causing kerfuffle in Kings Road and then going on aeroplanes, getting recognised and then it taking off in LA and New York. This was mind blowing!

“By early 1982 everything I’d dreamt about had already happened. All the things I’d wanted since going to see the That’ll Be The Day and Stardust movies .”  

Naturally, the key elements for looking like a popstar were just as important.  

“I was just thinking, how I could never get David Essex’s hair. The thing I had was a mixture between Francis Rossi and Rick Parfitt. It became finer the more I had cut off. I found that highlights actually made it a bit thicker, to give it a bit of lift. And so I thought that pop stardom was probably on the cards.”

Even the Haircut 100 look was something that hasn’t dated, not that fishing gear and chunky-knit jumpers tend to. It was very much a timeless style.  

“It was the ‘wanting to have played polo’ look, but not having that equipment. I never knew how to ride a horse but I could go and buy the boots, and I could wear the boots on stage with a polo hat,” reasons Nick now, sensibly.

“I did think about getting a shop around the time of Haircut because I knew people that did have shops and things. And you know, I could have moved into fashion. I used to hang around Burlington Arcade, I would walk down or back up, or down or back up.

“I mean, literally 30 times a day, I’ll be walking up and down Burlington Arcade , just being around that area and smelling the fragrances, the gentleman’s fragrances and choosing one and walking around with it, and then going back. And yeah, I’ve just really liked everything to do with Englishness, really, and it’s a bit depressing that it’s been taken over by nationalism and stuff.”

Looking back on the band’s debut album Pelican West 40 years on , the assortment of advertising slogans, pop art and random memories were at the heart of the band’s songs.  

Read more: Nick Heyward – album by album

Read more: nick heyward – postcards from home.

“I used to love writing poems and singing poems and that’s what they were to me, just words that went well together because I had no training in poetry. I hadn’t had a fantastic education. It was a secondary modern. So words became more of a melody, a way of phrasing that fitted the music, ‘Number one is the honey bun’ – there was no rhyme or reason, it was like freeform prose.”

“I didn’t know how to write a song, you know, as in I didn’t know how to pick subjects and do that. I was a commercial artist, so we just grabbed stuff, like mixed media, a bit of this here and something there and, all the songs that I’d liked around that particular period, you know, the lyrics just seemed like they weren’t from this planet anyway.

“David Byrne’s lyrics just seemed to have no rhyme or reason at all about them, but they just worked like a dream. This was the world that I wanted to be in. It’s the same world that I’d seen as a kid seeing The Jungle Book and thinking: ‘That’s not this world, that’s the world I want to be in’, you know, not this one. This one’s three-day weeks and rubbish piling up and Wheeltappers And Shunters Club, this ugly hideousness.”

A case in point was the ‘rap’ from Favourite Shirts , “Trisha, from our gang at that particular time, was Argentinian, and she was teaching me some words. So ‘Hey camisa’ is basically ‘Hey shirt’. Les, Graham and I used to share a flat near the college in Kensington. And this was all when Kensington was flatland and it was all kind of cheap flats that you could rent. Anyway, Trisha came to stay one night. I have photographs of that night where the discussion took place.”

Although the follow-up single Love Plus One stemmed from a childhood memory. “‘I went off to the Rhine’ was the original words. And that was ‘I went off to the Rhine’ because my mother was Swiss-German, and was happy to dress my brother and I in lederhosen.

“I had this German memory of things, when Pete took off as a swimmer when we were younger, we went to Frankfurt in swimming contests. That was when I first came across all these rivers and the trees, and the landscapes. And the lederhosen and Frankenstein Schloss, this castle with fireflies flying around.

“The fireflies were huge, because my nanny said there was always going to be little glow worms that came to the window. And I was convinced that these glow worms had all the answers.

“‘Where does it go from here, is it down to the lake…’, you know, it was these lakes out there and pines, and strong fragrances like lavender and rosemary. Germany was the cleanest place I’d ever seen, it just had that influence. Mum being called Anna as well. So, it was ring Anna, like ‘ring home’. And it was love because I felt love for mum, because she was always there.”

How about a song like Baked Bean ? “That’s BEANS by the way. That was a typo. I was always upset about that. It’s baked BEANS. It’s art-pop. You know, these are the beans that Roger Daltrey and Pete Townshend were bathing in. I said: ‘You cannot fucking print like 30,000 album sleeves. No, no, no, no.’ But they had. But it’s NOT bean.”

Lemon Firebrigade definitely encapsulates the whole essence of the band as well.  

“There was a moment before we were called Haircut 100 and we used to go to the Three Tuns pub because it was a portal to David Bowie and Ravensbourne Art College and all the aspirations of being a rock star. You know, this was the place, this was the Holy Grail, and we’re here every Friday night to try out our band name, and the reaction was ‘why?’ when we said Haircut 100 – ‘Why?’ And so that’s the why in Lemon Firebrigade, this is the essence of it. Because you know, ‘Why? Why Lemon Firebrigade ?’ Why not? You know, why Haircut 100? Why not?

Read more: Nick Heyward – Woodland Echoes review

Read more: top pop songs of 1982.

“I wrote Marine Boy about the ice cream shop across the road called Marine Ices. And that’s where we used to go. I always thought it was strange to have an ice cream shop in Camden just across the road from the Roundhouse, but that’s what it was. It was like I’d got two big things. I got the ice cream, and then I got this postman’s satchel from the shop next door. Then there’s like a kebab shop next to that on the opposite side.”  

While the rollercoaster ride that was instant success and touring the world seemed like a dream come true to a man who spent his 21st birthday at a party in LA with Clive Davis, tensions from touring were starting to show. Pretty much 12 months on from making their Top Of The Pops debut, the Haircuts were falling apart. “Returning from America, everybody was not getting on,” says Nick. “But it had been my band. So I felt the responsibility, but I wasn’t an experienced leader.”

And then the band, who’d cobbled together a management team behind Nick’s back, forced Nick out.

“Certain members wanted certain people out of the band, and in hindsight I should have dealt with that, but I didn’t know how to deal with that then. But the other guy was brought back into the band. This happened while I was in hospital, where I was having time out from everything because of the stress of working over the year, and of being well known and smiling through it. In reality, I hadn’t had time to process it really.

“Then there was another member who wasn’t happy with that. So he was in the studio and he wasn’t happy. Starting off with one person down, you know, that’s not the same team. And it wasn’t sounding the same. We’re in the studio of our dreams, The Manor, which was where XTC had made all these wonderful records, but it wasn’t sounding the same.”

By the start of 1983, both sides had issued press releases with their version of events, which didn’t look particularly good for the remaining Haircuts who then found themselves on a new label and their own days numbered. There have been the occasional one-off shows and a VH1 Bands Reunited special, but a full-on reunion looks unlikely.

“If you’re going to get back together with anyone in that way, you have to go through the nitty gritty to clear that up first, before you even get a chance of being together for any kind of longer period.”

Nick remains wide-eyed and optimistic.  

“That’s why I’d love for us one day to be playing the Roundhouse, because it was where we made the album. It’s where Haircut 100 kind of ended. It never really left Camden, you know, so to play at the Roundhouse would be just such an amazing thing.”

The campaign for Haircut 100 to get back together starts here, then, right readers? Nick, meanwhile, is finishing off a brand new album and is in the process of writing his memoirs.

“I said I’m up for doing anything to do with 40th anniversary just purely for old time’s sake and the fans. I think that will be lovely to do that at the Roundhouse. I’ve put the feelers out within the band and it normally doesn’t go anywhere. But you know, I remain ever hopeful!”  

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Nick Heyward: ‘The Fureys’ manager said, I’ve been trying to get my band to wear Aran sweaters their whole career – how did you do it?’

Haircut 100 had it all – adoring fans, critical kudos, alluring knitwear – before burning out. forty years later they’re about to play their first irish gig.

Haircut 100: ‘We loved The Undertones. An anorak on Top of the Pops – that was the best thing I’ve ever seen.’ Photograph: Gered Mankowitz

Nick Heyward remembers climbing on to a tour bus with his band Haircut 100 and wondering why he was surrounded by strangers. “Everybody was jumping on board, going ‘Yeah yeah – I want to get on.’ It was, like, ‘Okay, this is good... welcome aboard.’ But then it’s, like, ‘Who is that? I thought it was your mate,’” he says. “And then a magical mystery tour turns into maybe a not-so-magical one, where people are walking off with your suitcase and stuff.”

It was late 1982, and Haircut 100 were the hottest new band in Britain thanks to their mix of boyish looks and progressive pop. Heyward and company had become critical favourites and chart darlings with their debut album, Pelican West, a thrill-a-minute mash-up of new-romantic verve and Talking Heads-style postpunk. They’d made it – though they were too busy to appreciate the moment until it had passed.

As Heyward says, it became too much. Too much excitement, too many strangers on the tour bus, not enough time to reflect on what they’d achieved and build on it. Exhausted and worn out, Heyward left. The band tried to carry on yet struggled without their charismatic leader. Forty years later, Heyward, the bassist Les Nemes and the guitarist Graham Jones have reforged their friendship and are touring again as Haircut 100. They’re about to make history, too, playing their first ever Irish date, at Vicar Street next month.

“We didn’t plan any of this. It came to us: it presented itself. Are you interested? Everything is organised. All you have to do is turn up,” says Nemes, who, after the failure of the group’s Heyward-free second LP, Paint and Paint, went on to play with Chris Rea and Rick Astley.

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Heyward and Nemes are both in their early 60s. Zooming in from their living rooms in London and Spain, respectively, they are a study in contrasts. Heyward, who spent the latter part of the 1980s clocking up solo hits such as Whistle Down the Wind and Take That Situation, is still fresh-faced, with the air of an eternal teenager. (It may be a glitchy internet connection, but his hair is fantastic to the point of looking slightly supernatural.) His old pal is more grizzled – but then, even in their youth, he was overshadowed by his boyish friend.

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“There was a big double-page headline in the Sun: ‘Haircut Mania’,” Nemes says of the giddy months following the release of Pelican West. “It was like that. Liverpool was crazy. We’d booked into a hotel, and after the show the fans found out where we were staying. They all congregated outside the entrance. We were quite high up, on the eight, ninth floor. We looked down. There was a sea of people – a whole square. It was quite something. I went down to reception – these girls were crying their eyes out, asking for Nick. ‘Please, can you get Nick, please?’ It was mental.”

They’d grown up in Bromley, a London suburb perhaps best known for giving the world David Bowie. Heyward and Nemes had played in bands together since school, inspired by the punk scene then sweeping the city.

Things clicked in earnest when they settled on the name Haircut 100 – they loved how silly it sounded – and recruited the saxophonist Phil Smith, whose playing brought a new sophistication to the sound. (He is skipping the reunion.) That parping sax was a defining feature of their debut single, Favourite Shirts (Boy Meets Girl) – a top-five success in the winter of 1981 that hit like a cheery version of Talking Heads’s Psycho Killer.

Earlier on they’d been a moody new-wave band, just like all their peers. The leap to a poppier sound and a playful image – they sport Clancy Brothers-style Aran sweaters in the Favourite Shirts video – felt entirely natural, says Heyward. Music was taking a turn for the glossy. “Everyone was becoming pop stars – even the Human League. They had been industrial. And Depeche Mode, playing in east London – very industrial, with tape machines,” he says. When the clocks chimed for January 1st, 1980, pop’s tectonic plates shifted.

Howadays everything sounds the same to me, because everybody follows the same formula. Whereas, then, it was do what you want to do —   Les Nemes, Haircut 100

“It was changing. You’d had new wave. There was something else on the horizon. Everyone was dipping their toes in. Even Joy Division were turning into New Order. It was changing. That’s just the climate, isn’t it? You’ve got to swim upstream to a certain extent. That’s where the crazy stuff happens. We had that passion, that enthusiasm, to do it. Music was everything. There was nothing else. Nothing else existed. It was music, music, music.”

Haircut 100 today: Blair Cunningham, Les Nemes, Nick Heyward and Graham Jones

While Favourite Shirts was charting, the band bunkered down with the producer Bob Sargeant at Roundhouse Studios in Camden to make Pelican West. It was proclaimed an instant classic on its release in February 1982. Smash Hits raved about it, although the magazine’s editor, Neil Tennant – later one-half of Pet Shop Boys – cast a withering eye on Haircut 100′s fashion choices. They were, he wrote, “a bunch of clean, silly lads in big pullovers, yellow sou’westers” – an oilskin rain hat beloved of sailors – “and trousers tucked into socks with a fetish for tractors and old Monkees records”.

“We were trying to be the best we could be. And to be different,” says Heyward. “Most people around that time were making a conscious effort to be different. It wasn’t that how much you conformed determined how successful you were. It was how different you were that determined how successful you were. There was nobody else like most of the bands around. You look back now, God, what a bunch of odd-bods everybody was. Good – that was healthy, wasn’t it? Don’t conform – that was the golden rule.”

Nemes agrees. “It was very diverse. Maybe it’s because I’m a grandad, but nowadays everything sounds the same to me, because everybody follows the same formula. Whereas, then, it was do what you want to do. That makes the best music: when there are no rules. I taught bass for a while to kids in the local international school. One of my biggest pieces of advice was, ‘Don’t follow the rules. Do your own thing.’ That’s how you develop your own style and creativity. We didn’t know what we were doing musically. We just played what sounded good.”

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They were enthusiastic and ambitious for their music. They were also just kids who needed guidance. Unfortunately, the machinery built around them saw Haircut 100 not as serious artists who’d stumbled into the big time but as a cash machine. It wanted more of the same. Tired and feeling the pressure, Heyward – the pin-up and the songwriter – had a breakdown. He exited during abortive sessions for their second LP. When the news broke, it made national headlines.

“You can see burnout with lots of people. If you’re in it for the long run you’ve got to have naps, breaks, time off,” he says. “Step back, appreciate what you’re doing. You will do that once you’ve had a break. If you haven’t had any time off and then you have six months or a year off, you will see it with perspective eventually. And you’ll go ‘Wow’ – you appreciate it.”

You’re going to look back at all the awful times and see them as not awful. And if you embrace them you’ll see them as the best thing that ever happened —   Nick Heyward, Haircut 100

Haircut 100 weren’t afforded that opportunity. Instead, they were worked to the bone. “In the eye of the storm you’re just stressed. You’re not seeing clearly. You’re not actually seeing what a brilliant thing it is to be alive and doing what you’re doing. You’re living the dream,” Heyward says.

“You’re going to look back at all the awful times and see them as not awful. And if you embrace them you’ll see them as the best thing that ever happened. But that’s only hindsight. It’s best to have hindsight right now – to just take little breaks. Even now, we’re looking at the tour and it’s going to be flat out. But you’ve got to take breaks. Because life suffers when people don’t sleep well or don’t live properly. Lewis Capaldi is definitely suffering .”

Heyward and Nemes are looking forward to coming to Ireland, feeling they missed out on not playing here in the 1980s. They were on the circuit at the same time as Irish groups such as The Undertones, whom they saw as an inspiration. The interaction Heyward remembers most clearly from that time featured quite a different Irish band – and was sartorial rather than musical.

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“The Fureys – their manager came up to us on Top of the Pops and said, ‘I’ve been trying to get my band to wear Aran sweaters their whole career – how did you do it?” Heyward says, laughing. “We loved The Undertones. That was our band. They had something no other band had. Grit, melody, great songs about normal things. Wearing an anorak on Top of the Pops – that was the best thing I’ve ever seen. It probably inspired me to get a sou’wester on Top of the Pops.”

The story won’t end with their new tour. A recent deluxe reissue of Pelican West was a reminder of their talents. Now, for the first time since Heyward left, Haircut 100 are working on new music, at the singer’s home studio. “We’re in the process. Les and Graham were just here not so long ago. This is all organic. We’re playing stuff. It was like, ‘Oh, new Haircut material. It’s happening, isn’t it?’”

Haircut 100 play Vicar Street , Dublin 8, on Tuesday, October 10th

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Nick Heyward

Saturday 26 October 2024, 19:30

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With support: Isabella Coulstock .

Creatively ambitious from the start, critically acclaimed singer-songwriter Nick Heyward began his career as the songwriter and frontman of Haircut 100 . Marrying Chic with The Monkees, they rode the post-new-romantic-funk wave of the early 1980s, burning brightly but briefly. Following four UK Top 10 singles, ‘Fantastic Day’ , ‘Favourite Shirts (Boy Meets Girl)’ , ‘Love Plus One’ and ‘Nobody’s Fool’ , and their debut album, Pelican West , going platinum, the band parted ways.

North of a Miracle , Heyward’s first solo album saw him working with The Beatles engineer Geoff Emerick to craft pop landscapes incorporating full orchestra, a jazz band and catchy pop-funk all knitted together with top-flight songwriting that was featured in John Hughes’ classic film, Sixteen Candles .

Continuing to record through the 80s, Heyward found his stride again with 1993’s From Monday to Sunday . The lead single, ‘Kite’ , took off in America’s burgeoning alternative scene, reached No. 4 in the Billboard Alternative Chart, and found Heyward touring the country with the likes of The Lemonheads and Tony Bennett. The follow-up album, Tangled , was more pure power pop and led to Heyward signing to Creation Records for his final album of the ’90s, The Apple Bed .

Critic’s favourite, Woodland Echoes (2017), Heyward’s most recent release saw him return to touring with shows in the UK, USA, and Japan.

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Nick Heyward Concert Setlists & Tour Dates

Nick heyward at pizza express live, london, england.

• Take That Situation
• On a Sunday
• Perfect Sunday Sun
• Blue Hat for a Blue Day
• Whistle Down the Wind
• Over the Weekend / Nobody's Fool
• Love Plus One
• Rollerblade
• Christmas Tree
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Nick Heyward at Rewind Festival England 2023

• Favourite Shirts (Boy Meets Girl)
• Fantastic Day

Nick Heyward at Rewind North 2023

• Atlantic Monday
• Over the Weekend
• Nobody's Fool
• He Doesn't Love You Like I Do
• Baby Blue Sky

Nick Heyward at The Quay Theatre, Sudbury, England

• Atlantic Weekend

Nick Heyward at The Crooked Billet, Stoke Row, England

• Love All Day
• Warning Sign

Nick Heyward at Pizza Express High Holborn, London, England

Nick heyward at st peter's church, brighton, england.

• Sounds From The Streets

Nick Heyward

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Most played songs

• Fantastic Day ( 53 )
• Love Plus One ( 48 )
• Blue Hat for a Blue Day ( 43 )
• Favourite Shirts (Boy Meets Girl) ( 41 )
• Whistle Down the Wind ( 33 )

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Haircut One Hundred

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Artists covered

The Beatles Busted Haircut One Hundred The Jam

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173 people have seen Nick Heyward live.

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Nick Heyward on the web

Music links.

• Nick Heyward Lyrics (de)
• Official Homepage
• Wikipedia page

Tour Update

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Nick Heyward

Following a huge 2023 with Haircut 100 playing the BBC Radio 2 Piano Room, a sell-out London reunion show at the O2 Shepherd’s Bush Empire and a joyous tour of the UK and Ireland, Nick Heyward sets off on his first solo tour since the critically acclaimed Woodland Echoes album release tour in 2018.

Join Nick and his four-piece band for songs from across his entire 40+ year career with a preview of new material.

Creatively ambitious from the start, critically acclaimed singer-songwriter Nick Heyward began his career as the songwriter and frontman of Haircut 100. Marrying Chic with The Monkees, they rode the post-new-romantic-funk-wave of the early 1980s burning brightly, but briefly. Following four UK top 10 singles, Fantastic Day, Favourite Shirts (Boy Meets Girl) , Love Plus One and Nobody’s Fool , and their debut album, Pelican West , going platinum, the band parted ways.

North of a Miracle , Heyward’s first solo album saw him working with The Beatles engineer Geoff Emerick to craft pop landscapes incorporating full orchestra, a jazz band and catchy pop-funk, all knitted together with top-flight songwriting that was featured in the John Hughes classic film Sixteen Candles .

Continuing to record through the 80s, Heyward found his stride again with 1993’s From Monday to Sunday . Lead single Kite took off in America’s burgeoning alternative scene, reached Number Four in the Billboard Alternative Chart, and found Heyward touring the country with the likes of The Lemonheads and Tony Bennett. The follow-up album, Tangled , was more pure power pop and led to Heyward signing to Creation Records for his final album of the 90s, The Apple Bed .

Support will be provided by Isabella Coulstock .

Event information

Running Time: TBC

Age Guidance: Universal

Triggers and advisories: None

Prices include a £2 booking fee and where applicable, a £1.20 charge for postage will be payable

Boxes are available to book by calling the Box Office on 0113 243 0808

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EVENT INFORMATION

Following a huge 2023 with Haircut 100 playing the BBC Radio 2 Piano Room, a sell-out London reunion show at the O2 Shepherds Bush Empire and a joyous tour of the UK and Ireland; Nick Heyward sets off on his first solo tour since the critically acclaimed Woodland Echoes album release tour in 2018.

Join Nick and his four-piece band for songs from across his entire 40+ year career with a preview of new material.

Supporting Nick is Isabella Coulstock

From a live Under The Apple Tree session for Bob Harris at just 13, and playing at iconic venues such as The Troubadour, The Half Moon, The Bedford in Balham and The Green Note, Isabella has gone on to perform at some of the most iconic venues, arts centres, theatres, arenas and festivals across the country.

Isabella has also been supporting Jools Holland on his summer and winter tours every year since she was 17. She is currently 22 years old.

RUNNING TIMES

Doors; 19:30

On-Stage: 20:00

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• Oct. 23, 2024, 7:30 p.m. → Book Now

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