Mike has obviously gone though a learning process. He always had high standards and a perfectionist streak that made him a difficult man to please professionally. On the other hand, the obstacles he encountered - such as qualities required of colleagues, and sound quality and technical support - were overcome as he matured as a person and as technology improved.

The other changes in his attitude - such as to managers and to light shows - are a reflection of hard experience that there is no single best solution and things can be done successfully in different ways.

His enthusiasm for playing live seems better sustained when he is not over-exposed to it - such as he was during 1979 to 1984.

He needs a suitably inspiring venue, some stimulating challenges such as how to adapt technology, and a limited tour programme. That way he is likely to play more of his music but with fewer dates.

His touring years in the 1980s seem partly responsible for much of his European commercial success at this time, and arguably influenced the nature of his music in that period. But the clear constant is that Mike has always been well received in concert by even his harshest critics and by playing live has enhanced his own reputation as an artist. Long may that continue.

With acknowledgements and thanks:
David Porter; Stefan Koechling's Tubular Web page; Dark Star; Peter Evans and "Music from the Darkness"; Martin Wakeling (Why Are We Sleeping? Kevin Ayers' fanzine), Sean Moraghan's "A Man and His Music"; Thomas Rothenthal for his interview with Mike and Andy Blakemore'[for Dark Star 15]

©Mark Slattery