I’ve seen my fair share of reggae-inspired shows, but there’s something uniquely special about catching UB40 in an intimate setting like The Ridgefield Playhouse. It’s one thing to hear their hits spilling out of car stereos, weddings, or summer barbecues; it’s another thing entirely to stand a few feet away from a band that has been carrying their sound across the globe for over four decades. On this night in Ridgefield, UB40 didn’t just play a concert—they created a communal experience that was equal parts nostalgia, joy, and subtle reflection.
The Playhouse is a cozy venue, the kind where you can actually see the faces of the band members and lock into their energy without feeling lost in a sea of people. That intimacy worked in UB40’s favor. Their catalog is filled with songs that invite singalongs, swaying, and a little bit of dancing in your seat, and the close quarters only amplified the feeling that we were all part of something shared.
The Opening: Sliding Into the Groove
They opened with “Here I Am (Come and Take Me),” a cover that has become a UB40 staple since the mid-’90s. From the first notes, the room lit up. It was instantly familiar, the kind of opener that says, “Relax, you’re in good hands tonight.” The band’s blend of tight horns, laid-back bass, and Ali Campbell’s instantly recognizable voice pulled the crowd right in. People were singing along from the jump, and you could feel shoulders loosening and heads bobbing as the rhythm settled in.
Without pausing, they slid into “Maybe Tomorrow.” It’s not the most obvious UB40 track, but it gave the night an early sense of unpredictability. Rather than stacking all their biggest hits up front, they eased into things, layering songs that spoke to the depth of their catalog.
Then came “Homely Girl.” Now this one really got the crowd moving. There’s something about the humor and warmth in that track that always lands, and hearing it live is like being part of a joke you already know the punchline to. It was loose, fun, and had the kind of bounce that got people out of their seats.
Mid-Set: Balancing Message and Melody
The band then turned toward their more political and reflective side with “Sing Our Own Song.” It’s one of those tracks that reminds you UB40 isn’t just a party band—they’ve always had a conscience, and they’ve never been afraid to use their platform to say something meaningful. Hearing it in Ridgefield, a small Connecticut town, was a reminder that music with a message resonates far beyond the places where it was first written. The horns carried the weight of the arrangement beautifully, and Ali’s delivery felt heartfelt and urgent even after all these years.
That message carried into “One in Ten,” one of UB40’s most powerful songs. Live, it’s haunting. The lyrics about unemployment and social exclusion may have been written decades ago, but they still feel chillingly relevant. The crowd, which had been moving and singing freely up until this point, quieted down noticeably. You could feel people absorbing the words, nodding along, reflecting. It wasn’t somber, though—it was powerful, a reminder that UB40 has always been more layered than casual listeners sometimes give them credit for.
To balance things out, they brought the mood back up with “Home” and “You Don’t Call Anymore.” These two newer tracks didn’t land with the same impact as the classics, but they were delivered with such sincerity that they kept the set flowing smoothly. It was the kind of sequence where die-hard fans leaned in, appreciating the newer material, while casual fans used the moment to regroup before the next run of hits.
Classic Covers and Singalongs
The show hit another level when the band launched into “Many Rivers to Cross.” That Jimmy Cliff cover is a UB40 hallmark, and it’s one of those moments where Ali Campbell’s voice really shines. His ability to balance grit and vulnerability is what makes UB40’s covers so memorable, and this performance was a highlight of the night.
From there, it was back-to-back fun with “Gimme Little Sign” and “Higher Ground.” Both songs had the crowd back on their feet, clapping, dancing in the aisles, and shouting lyrics. The energy in the room had shifted entirely from introspective to celebratory, and it felt like the band knew exactly how to orchestrate that transition.
Then came “The Way You Do the Things You Do.” If you’ve ever been to a UB40 show, you know this one is practically designed for audience participation. People were swaying, singing every word, and it felt like a communal singalong. At that moment, Ridgefield Playhouse felt less like a venue and more like someone’s oversized living room where the world’s greatest reggae-pop band happened to be playing.
They kept the covers rolling with “I’ll Be Your Baby Tonight” and “Cherry Oh Baby.” Both songs were smooth, warm, and effortlessly cool. The band has a way of making every cover feel like it belongs to them, like they’ve always owned it, and these two were no exception.
“Johnny Too Bad” leaned into the reggae roots even harder, and it gave the show a grittier texture before one of the night’s biggest singalongs arrived: “Red Red Wine.”
It’s impossible to overstate how much joy that song brings in a live setting. From the moment the opening chords rang out, the crowd erupted. People who had been sitting all night jumped up, and the Playhouse transformed into a full-on party. Ali’s voice carried the melody perfectly, and when they hit the UB40 signature toast section, the place absolutely lost it. Phones were up, arms were around shoulders, and it felt like everyone had been waiting for that exact moment.
The Encore: Celebration with Heart
After a short break, the band returned for an encore that was both playful and heartfelt. First, they surprised the crowd with “Happy Birthday to You,” sung for Harry, one of the crew or maybe even a longtime fan they spotted. It was a lighthearted moment that made the night feel personal and human, the kind of thing that could only happen in a small venue.
Then it was back to business with “Food for Thought.” This track, one of their earliest hits, still carries its political edge, but it was delivered here with a celebratory vibe. It was almost like a nod to the journey the band has been on since their beginnings, a reminder of how much ground they’ve covered.
“Kingston Town” followed, and it was gorgeous. The song has this bittersweet beauty to it, and live it felt like the whole room was suspended in its melody. The horns swelled, Ali’s voice carried every ounce of longing, and you could hear the audience humming along softly.
Finally, they closed with “Can’t Help Falling in Love.” It was the perfect closer. The Elvis classic, filtered through UB40’s reggae lens, brought the night full circle—nostalgic, joyful, and warm. Couples danced in the aisles, friends threw arms around each other, and everyone sang like they were part of the band.
Reflections on the Night
Walking out of The Ridgefield Playhouse, I felt like I’d been part of something both timeless and uniquely present. UB40 didn’t reinvent themselves on that stage, and they didn’t need to. What they did was remind us why their music has endured: it’s fun, it’s heartfelt, and it carries a message when it needs to.
The setlist struck a careful balance between covers, political tracks, and the monster hits that everyone came to hear. If anything, I might have wished for a deeper cut or two for the die-hards, but given the setting and the mixed audience, they played it exactly right.
The intimacy of the Playhouse also meant that every moment felt personal. From the singalong on “Red Red Wine” to the birthday song in the encore, there was a sense of connection between the band and the audience that’s hard to find in massive arenas.
UB40 may be decades into their career, but nights like this prove that their sound—and their ability to bring people together—hasn’t lost a step. They gave Ridgefield an evening of warmth, rhythm, and memory-making, and the smile on people’s faces as they left the venue said it all.