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80s rock god Midge Ure will be touring South Africa. Picture Supplied
When music’s got you in checkmate, and the artist has covered all bases, it is musically appealing, lyrically seductive, emotionally influential, and foot-tappingly infectious.
Not many musicians have pulled it off, but Midge Ure has.
He’s not only one of the pioneers of electro or synthesiser rock, but he’s probably the godfather of it all.
From the haunting brilliance of Vienna with Ultravox to his hand in the rallying cry of Band Aid’s Do They Know It’s Christmas?, Ure’s music has proven to be timeless, powerful, and above all deeply human.
There is The philosophical depth in his songwriting, whether in Ultravox’s richly layered tracks or his solo work. And it has not been accidental.
It’s born from Ure’s desire to create music that resonates with people.
“I write songs about what affects me,” Ure said. “It could be life, family, a book, or something I’ve seen on television. Music is an observational tool; it’s not for preaching. It allows you to express ideas, question the world, and even touch on the state of the planet.”
Ure’s writing is rooted in authenticity, a lesson learned early in his career.
As a member of Slik in the 70s, he experienced the hollowness of creative control stripped away.
“I wasn’t writing the songs or producing the records. It felt like I was just a puppet. I swore never to let that happen again,” he said.
That promise led him to pursue a path that prioritised artistic autonomy and honesty. Writing music that mattered.
“Real subjects are infinitely more interesting than fantasy. I’d rather question the world than sing about the boy-next-door cliché.”
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While it’s a forever dancefloor and chill piece of music, Ultravox’s Dancing with Tears in My Eyes runs a musical full circle. A check mate. It was inspired by Neville Shute’s On the Beach, a book that explored a world after a nuclear Armageddon.
According to Ure, the song sticks to the apocalyptic nature of the book and explores the lingering question of how a person might spend their final moments on Earth.
“It’s about being with the people you love and dancing to your favourite song when there’s nowhere to run, nowhere to hide. It’s a bittersweet idea, but it’s also incredibly relevant today. What people do in the name of progress still baffles me.”
For Ure, the power of music lies in its ability to unite and console, something he witnessed firsthand during Band Aid and Live Aid.
“Music didn’t save the world, but it brought people together. And when people stand together, that’s when change happens. One person shouting in an empty room does nothing, but a million people shouting together? That resonates.”
Ure said that the timelessness of the music from the 80s has ensured its relevance today.
“In the 80s, songwriting was king. We didn’t realise it then, but we’d absorbed the craft by listening to the best songs of the 60s and 70s. That’s why these tracks still resonate. They’ve found new audiences thanks to streaming, Netflix, and even video games,” he said.
Ure also said it hasn’t really been about nostalgia, rather the quality of the songs.
“They were written with a focus on storytelling and emotion, which is why they’ve stood the test of time. Music doesn’t have to choose between rhythm and depth—it can have both.”
Sonically, they haven’t aged, he said, “and that’s the beauty of it. They were written with a focus on storytelling and emotion, which is why they’ve stood the test of time”.
And when he performs music live, he said, it’s like a drug.
“There’s nothing quite like strapping on a guitar, stepping onto a stage, and making a glorious racket with other musicians,” he said.
He gives his all at every show.
“A live show isn’t about flashy effects or gimmicks. It’s about walking on stage, giving 110%, and connecting with the audience. You can’t fake that. Audiences aren’t stupid and know when you’re phoning it in, even if they can’t pinpoint why. I won’t allow that to happen.”
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