Live At 3030 by The Spandettes: A Soulful Explosion That Sticks With You
Alright, let’s talk about Live At 3030. This album is like a warm hug from an old friend you didn’t know you had. Released in 2018 on P-Vine Records in Japan, it’s this funky little gem that blends pop, soul, dance, and R&B into something that feels alive—like the music is breathing right there with you. And trust me, once you dive into it, it kinda latches onto your brain.
First up, gotta shout out “Dream On (Live).” Man, this track hits different. Alex Tait’s vocals are smooth as butter, but they’ve got this raw edge to them too, like she’s letting you in on some secret joy only she knows about. The horns? Oh, those horns. Megan Jutting on trumpet and Gordon Hyland on tenor sax just light the whole thing up. It’s one of those songs where you can practically feel the energy of the room—like everyone’s swaying together, lost in the groove. I remember listening to it late at night when I should’ve been asleep, and instead, I ended up dancing around my kitchen like a total goof. That’s what good live music does—it pulls you in and doesn’t let go.
Then there’s “Lit Up (Live),” which is basically happiness bottled up and poured straight into your ears. Dean Aivaliotis’ keys are all sparkly and bright, while Neil Whitford’s guitar adds these sneaky little riffs that make you wanna move. What gets me every time though is how tight the rhythm section is—Mike Meusel on bass and Robin Claxton on drums lock in so perfectly that it feels like they’re reading each other’s minds. There’s this moment near the end where everything drops out except for the vocals and handclaps, and honestly, it gives me chills every damn time. It’s celebratory, but not in a cheesy way—it’s real, unfiltered joy.
What makes Live At 3030 special isn’t just the technical wizardry (shoutout to Andy Pryde for mixing and Reuben Ghose for mastering). No, it’s the vibe. These aren’t just performances; they’re moments captured in time. You can hear the crowd cheering, the band laughing between takes—it’s messy and human and beautiful all at once.
Here’s the kicker though: why did this come out of Japan? Like, don’t get me wrong, I love that it exists, but part of me wishes more people knew about it because it deserves to be heard everywhere. Maybe that’s the magic of it though—it’s this hidden treasure waiting for someone to stumble across it.
So yeah, if you’re looking for an album that’ll make you forget your troubles for an hour or two, grab Live At 3030. Just don’t blame me when you find yourself randomly busting moves in public.
