Gilbert O’Sullivan – Live Review – York Grand Opera House
By Roger Crow, September 2026
Growing up in the 1970s, there were four albums in my life: Tubular Bells, a Top of the Pops covers record, a Tom Jones LP and Gilbert O’Sullivan’s Back to Front.
In the days when the idea of finding any song you wanted at the touch of a screen belonged in the realms of science fiction, you listened to what you had. Thankfully, Gilbert was one of the finest singer-songwriters of his generation, with tracks including ‘Get Down’, ‘Clair’, ‘What’s in a Kiss?’ and ‘Matrimony’.
Finally seeing him take to the stage at York’s Grand Opera House is a 50-plus year dream come true. A few hours earlier I’d listened to his new album, On the Record, and it’s a belter, filled with hooky tracks like ‘It’s Me’, and ‘Don’t Shout’. You’ll have to wait until November 6 to hear that new release, and it’s worth the wait.
Born in Ireland in 1946, the gifted tunesmith rose to prominence with the 1970 hit ‘Nothing Rhymed’. It brought him the first of many chart successes, and sounds terrific live. In the UK, Back to Front became Gilbert’s most successful album, racing to the top of the charts and his third album, I’m a Writer, Not a Fighter, hardly struggled either, reaching number two on the UK album chart.
It probably helped that the LP produced a massive hit which one television producer interpreted rather literally. The sight of Pan’s People reprimanding a bewildered dog to the strains of the two-week chart-topper ‘Get Down’ in 1973 remains pure television gold. And little wonder he saves that belter for last. By that point most of the crowd are on their feet. This is more of a ‘hip op’ than ‘hip hop’ audience, and we loved every minute.
Gilbert O’Sullivan, 2026
“A joy”
As we all know, great songs do not need to reach number one to become timeless classics. ‘Alone Again (Naturally)’ is among the finest of the 1970s, yet peaked at number three in Britain. Our American cousins were rather more enthusiastic, sending it all the way to the coveted top spot. Quite right too. When I first heard it as a kid it meant little, but has become more of a heartbreaker with each passing year. And again, to see him do it on stage is a real privilege.
Remarkably, one of his best tracks, ‘Matrimony’ (featuring the magnificently titled B-side ‘January Git’) failed to chart in either 1972 or 1976. Incredible as it shines like a supernova, and little wonder it lingers long after the gig is over.
His final Top 20 smash was ‘What’s in a Kiss?’, the 1980 single which sensibly assumed there was more to a snog than an exchange of germs. And yes, once more, he delivers a terrific rendition.
If you’ve never seen Gilbert at all, imagine Patrick McGoohan with Brian May’s hair circa 1980, and he’s as charismatic as both of them. Just a shame we don’t get his fabulous festive track ‘Christmas Song’. Too early? Maybe, but it would still have been a treat to hear.
As stripped-down gigs go, it’s a gem from a master singer-songwriter who has lost little of the skill that made his name decades ago. He also has some terrific anecdotes, and wisely ensures the live rendition of each song is around the three-minute mark. None outstay their welcome, as if they could. And after decades in the business, what a joy to see him enjoy the show as much as the audience. With excellent support from guitarist Bill Shanley, this was one of the musical highlights of the year.
I also was growing up in the 70s and loved a lot of the tunes from this time. I also get to watch a lot of gigs from these 70/80s artists. One thing that must be noted by Gilbert is that he is one of the few left with a cracking voice and can still pump out the right notes.