Dublin, fans and most likely further afield packed into Vicar Street for a night that promised to be both nostalgic and a celebration. Holly Johnson, iconic frontman of Frankie Goes to Hollywood, delivered exactly that and more as he brought his “Welcome to the Pleasuredome 40th Anniversary Tour” to town. The show was not just a concert; it was a time machine, a tribute, and a powerful reminder of the enduring legacy of one of the most daring bands of the 1980s.
Support on the night came from Lee Forsyth Griffiths, who warmed up the crowd with a heartfelt, stripped-back set. His soulful vocals and raw acoustic style provided a contrasting but welcome prelude to the technicolour pop drama that would soon unfold.
As the lights dimmed and a deep, pulsing synth began to fill the venue, the unmistakable atmosphere of anticipation set in. Then, in a thunderous and theatrical moment, Holly Johnson emerged clad head-to-toe in black leather, oozing charisma and confidence opened with a brand new, extended version of “Welcome to the Pleasuredome,” now reimagined for 2025.
Titled “Welcome to the Pleasuredome 2025,” this new rendition was a spectacular opener. It retained the sprawling, epic feel of the original but incorporated modern production flourishes and a beefed-up dance beat that gave it fresh relevance. It was a bold move to open with such an elaborate arrangement, but it paid off brilliantly, instantly drawing the crowd into Holly’s vividly reimagined world.
The surprises didn’t stop there. “Warriors of the Wasteland,” one of Frankie’s more overlooked gems, followed with a reworked intro that added flair and brooding synths before breaking into its familiar pulse. The reinvention gave the song new life and underscored Holly’s ability to reinterpret the past without losing its essence.
The set continued with the classics, but it was the trio near the end “War,” “Two Tribes,” and “Relax” that sent the crowd into euphoria. Holly’s rendition of “War,” originally a Temptations hit, was theatrical and politically charged, delivered with fire and purpose. It served as the perfect build-up to the big hitters.
“Two Tribes” exploded with energy, its anti-war message as relevant now as it was in the ‘80s, and “Relax” banned and beloved in equal measure in its heyday arrived like a thunderclap. The crowd’s reaction was instant and electric, singing every word back to the stage. The walls of Vicar Street felt like they might burst under the pressure of nostalgia-fueled joy.
To close the night, Holly brought things down gently with a powerful and emotional performance of “The Power of Love.” His voice soared tender, aching, and utterly captivating. It was a perfect bookend to a night that celebrated the bombast and the beauty of Frankie Goes to Hollywood’s catalogue.
Throughout the show, Holly Johnson proved he’s not just a legacy act resting on former glories. He remains a dynamic performer, one who understands both the power of his past and the possibility of reinvention. The updated arrangements, the confident stage presence, and his voice still rich and commanding all contributed to a performance that was as much about now as it was about then.
For longtime fans, it was a remembrance. For newer ones, perhaps a revelation. But for everyone at Vicar Street the night, it was an unforgettable trip to the Pleasuredome and proof that, four decades on, the magic still burns bright.
Lee Forsyth Griffiths photos:
Holly Johnson photos & set-list:
Set-list:
Welcome to the Pleasuredome 2025
Black Night White Light
Warriors of the Wasteland
Wish-the Lads Were Here
Americanos
Atomic City
Heaven’s Here
Rage Hard
Love Train
Penny Arcade
Watching the Wildlife
Born to Run (Bruce Springsteen cover)
War (The Temptations cover)
Two Tribes
Relax
The Power of Love
Photos & words – Ian Mc Donnell @mcgigmusic