British pop rock band Transvision Vamp returned to Australia for the first time in almost three decades, bringing their 80s smash hits to a packed Metropolis Fremantle and reminding everyone why this country once embraced them like their own. Headlining cities across Australia in February 2026, they’ve come back to the territory where they enjoyed phenomenal success — and judging by the reception in Fremantle tonight (the penultimate date of the tour before crossing back to Melbourne for an extra show due to huge demand), that love affair never really ended. As Wendy James told The Guardian a few months ago when speaking about reclaiming the band name for this tour: “Somehow it didn’t bother me any more… I just said yes – it could be the start of a great adventure.”
And on February 21 at Metropolis Fremantle, that adventure roared back into life, not in a haze of leather and red lipstick, but with a sleek black dress, an unmistakable voice and riffs that still sound as dangerous as they did in 1987.
When I was a young teen, like everyone I knew, I was a little in love with Wendy James and Transvision Vamp. I first saw them in their glorious youth almost four decades ago now – back when all of our hair was bigger, attitudes were sharp, and all our futures were unwritten. I lived in a world that revolved around music, friends and great nights out and it felt more real mainly due to the lack of our constant distraction- mobile phones. Seeing Transvision Vamp again in 2026, returning to the country where they found some of their greatest success, felt like stepping into a time machine, and the phone stayed firmly in the pocket throughout, as an act of wanton defiance.
Australia was always fertile ground for Transvision Vamp – “Baby I Don’t Care” hit No. 3 here and in the UK, the band’s iconic image plastered across bedroom walls and magazine pages. And though Wendy’s solo career has lasted far longer than the original band ever did, tonight is about those songs – and the crowd made it very clear that not a single line has been forgotten.
From the moment the band strode out – James in a black dress, hair tied up, exuding that effortless cool that once made her the ultimate New York arty sophisticate – it’s clear this isn’t some dusty nostalgia trip. Joining her are Alex Ward (Thurston Moore Group) on guitar, original TV bassist Dave Parsons, and James Sclavunos (Nick Cave and The Bad Seeds) on drums. These are consummate musicians, and in their hands the songs haven’t just aged well – they’ve grown.
The opening salvo of “Trash City” and a snarling take on “Tell That Girl to Shut Up” (the Holly and the Italians cover) set the tone. But I got a lump in the throat when “I Want Your Love” rode in early on that unmistakable riff – sharp, bright, and impossible not to move to. The groove is thicker now, less frantic, more assured, steadied by time. It’s not about youthful chaos anymore; it’s about precision and control without eschewing an ounce of teenage excitement.
“Sister Moon,” “Pressure Times” and “If Looks Could Kill” lean heavily into the second album Velveteen – which makes up nearly half the set – and it’s a reminder of just how strong that record was. “Landslide of Love” sounds way rockier tonight, riding a muscular riff, whilst “Pay The Ghosts” brings that 60s girl-group shimmer wrapped in fuzz. It’s one of those songs that has only improved with time – melody and melancholy meeting head-on.
Mid-set, “Revolution Baby” is still the biggest compliment you could pay to the New York Dolls and the whole CBGBs dream – MC5 and Patti Smith attitude with a pop sheen. James stalks the stage, sneering and smiling in equal measure. Only ten years separated the band’s formation from the explosion of that original New York scene, and you can still hear the lineage in every chord.
My personal highlight? The third song in – “I Want Your Love.” The perfect song of its time, and the soundtrack to a thousand teenage crushes. I fell in love in ’87, and for three minutes in Fremantle, I was right back there.
Of course, it all builds to “Baby I Don’t Care.” As a set closer it’s unbeatable. I stood back and just watched the room go off. Arms in the air, voices hoarse with an hour and a half’s singing, the floor bouncing in unison. Not many bands can drop one of their most iconic numbers so early in set and still command that kind of chaos at the end – but Transvision Vamp understand theatre. They know timing and the setlist for this tour was spot on.
The encore is pure sugar rush: “The Only One,” “The Impression of Normalcy,” “Bad Valentine,” and finally a resplendent “Velveteen” – a reminder that the second album wasn’t just a follow-up, it was a glourious landmark. Returning to the territory that embraced them so fiercely, it’s clear this reunion is nothing short of triumphant.
Support comes from New Zealand duo Response, who we chat to after their set. Despite being drummerless, (they joke they left the drummer behind but they’ve always been a duo!) they’ve forged a sound that’s at times introspective yet still energetic – fuzzed-out guitar hooks colliding with moody alt-rock and bright indie tones. The songs are there; you sense they’re on the brink of something bigger.
But tonight belongs to Wendy. To that voice, that stare, that defiant smirk. She once said reclaiming the band name didn’t bother her anymore – that it could be the start of a great adventure. On the evidence of this Australian Tour, she was right.
Nearly 40 years later, how could you not still be in love with this music?
