Birmingham past, tribute present
Ali Campbell's distinct tenor fronted
UB40 from 1979 to 2008, and now he leads
UB40 Feat. Ali Campbell to keep the classic catalog alive after
Astro's 2021 passing. The current project grew from his split with the Birmingham lineup, with
Mickey Virtue departing in 2018 and the loss of
Astro turning recent shows into a tribute chapter. Expect a set built around sing-along staples like
Red Red Wine,
Kingston Town, and
Can't Help Falling in Love. Deeper cuts such as
Food for Thought or
Cherry Oh Baby often appear early to set the groove. The crowd usually skews multi-generational, from long-time locals in vintage tees to younger groups in bucket hats, all easygoing and quick to sway together. A tidy bit of history: parts of
Signing Off were tracked in producer Bob Lamb's cellar studio in Birmingham, which helped cement their warm, roomy sound. Another nugget: their take on
Red Red Wine follows the Tony Tribe reggae version more than the Neil Diamond original. Treat these setlist and production notes as a best guess that may shift on the night.
Hits in the trees, hearts on sleeves
Forest styles, gentle chorus waves
This crowd likes comfort and color: lightweight jackets, terrace scarves, bucket hats, and old two-tone checks pop up next to modern streetwear. You will see plastic cups of red wine raised on the big chorus, a playful nod that the band often leans into with a smile. Call-and-response moments arrive on
Kingston Town, with the audience humming the descending line while the horns mirror it. During tributes to
Astro, the mood shifts tender, and people hold up phone lights without much prompting. Merch trends lean classic:
Labour of Love artwork,
Signing Off fonts, and enamel pins of the UB Horns logo. Conversations in the pit often tilt toward memories of festivals, pirate radio, and old sound systems, yet the tone stays welcoming to first-timers. By the end, the vibe feels like a friendly neighborhood block party that just happens to have a world-known band on stage.
Rituals, badges, and the red-wine chorus
Voice up front, rhythm in the pocket
On stage,
Ali Campbell's tone is light and nasal, which cuts through the mix and keeps the melodies calm even when the band pushes. Guitars keep a tight off-beat chop while keys pad the chords, leaving space for the bass to carry the song like a soft engine. The horn section states the hooks and often answers the vocal lines, a call-and-response that makes familiar choruses feel fresh. Tempos usually sit mid-slow, but the group can snap into a faster one-drop for a lift, then drift back to a sway. A common live move is to stretch codas into dub passages with echo on snare and horns dropping in and out, which lets the rhythm breathe. You may notice some songs landing a touch lower than the original keys, a smart call that suits his present range without losing the shine. Visuals tend to be warm washes and soft strobes that color the groove rather than steal attention. The net effect is music-first production where every instrument has room, and the voice sits like a guide rather than a shout.
Dub detours and horn replies
Nearby sounds, shared sway
If you like brass-laced UK ska and reggae with story songs,
The Specials will feel adjacent, though their edge is sharper and more punk-informed.
Madness draw similar joy from swingy rhythms and sing-back hooks, and their crowds share that cheerful, intergenerational feel. Fans of roots grooves and thick bass lines should check
Aswad, who bring a London take on lovers rock that mirrors the smoother side of this show. Birmingham peers
Steel Pulse carry deeper political fire but land in the same cozy pocket when tempos settle. For golden-era melodies led by a veteran voice,
Jimmy Cliff sits nearby, especially if you crave uplifting choruses and warm organ swells. Together these artists favor sturdy songs, roomy arrangements, and a communal sway that grows across a full set.
From two-tone snap to lovers-rock glide
