Photos and review by Jennie Book
@jenniebookphotography

If you were anywhere near a radio in the early ‘90s, chances are you’ve belted out “Unbelievable” or drifted off to the spacey groove of “In the Meantime.” On June 15th in San Francisco, two of the UK’s most eclectic exports, EMF and Spacehog, joined forces for a co-headlining show at Great American Music Hall that doubled as a celebration of legacies and a reminder of their staying power.

Opening the night was New York-based art-punk collective Ecce Shnak, whose genre-defying set was a dizzying collage of choral vocals, melodies, hip-hop, and style. It was ambitious and weird and entertaining, and set the night’s tone for the energy to come.

EMF, the dance-rock renegades from Gloucestershire, hit the stage with a wave of positivity and a full-band setup that leaned into their electronic roots. Frontman James Atkin, decked out in a cheeky “Life Ruined My Drugs” shirt, bounded around the stage with the same youthful mischief that made the band famous. Even with a slightly “compromised” voice on the second night of the tour, Atkin sounded great, delivering his unique vocals with punch and energy.

Their set was built for movement: from the rush of “I Believe” to the bounce of “The Day the Music Died,” and a club medley dropped right into the middle of “Reach for the Lasers” which included segments from “Blue Monday,” “Insomniac,” “Pump up the Jam,” and “Breathe.” Fans old and new danced, jumped, and shouted along. The band didn’t shy away from their legacy either, playing “Unbelievable” late in the set and working in deep cuts like “Children” alongside a new track they said they were playing for the first time, “LGBTQ+.”

Atkin and bandmates Derry Brownson, Ian Dench, Stevey Marsh, and Adrian Todd were in top form. Dench, in particular, is still a guitar wizard, balancing technical prowess with raw emotion. The band also spoke up about the challenges of touring the U.S. with its costs and logistical headaches, and indicated that they’d be at the merch table signing, and that fans spending a little money on swag would go a long way for them.

With a set of 10 songs, fans would have been thrilled if it had gone longer, but EMF’s time on stage was tight and fun with no dull moments, and even though “Unbelievable” is the song we all know that made us fall in love with them, their catalog is strong and they are undeniably great live.

Spacehog, led by the UK-born and U.S.-based Langdon brothers, arrived draped in glam-rock couture and wasted no time getting loud, launching their set with a cover of Tin Machine’s “Crack City.” Their sound, steeped in Ziggy Stardust-era theatrics, bluesy swagger, and psychedelic haze, felt timeless in the intimate Great American Music Hall.

The band flowed through cuts from their catalog, giving “Mungo City” a jolt of energy and letting “Space Is the Place” swirl dreamily into the rafters. Royston Langdon brought his signature cool and distinct vocals to each track, effortlessly guiding the band. “The Horror” brought a more introspective moment mid-set, its haunting intro resonating in the room.

But it was “In the Meantime” that made the crowd most alive. That bassline, immortalized again thanks to its inclusion in Guardians of the Galaxy Vol. 3, drew a cheer as the room fell into happy nostalgia.

Both bands may have been lumped into the ’90s alt-rock boom, but this tour proved their music was always more than just radio play. Spacehog and EMF reminded everyone that they’re still around, still evolving, and still ready to throw a party.

For all the latest information on EMF, check out www.emf-theband.com, and for Spacehog visit www.spacehog.band