There’s a rare kind of magic that happens when a band like The Fixx hits the stage — a group that’s not only survived the passage of time but somehow grown sharper, wiser, and more powerful because of it. When they played Albany in 2025, the crowd got more than a nostalgia trip; they got a masterclass in how to age gracefully in rock and roll. The Fixx have always been cerebral — their lyrics probing, their melodies hypnotic — but live, they’re visceral too. You feel them. And on this night in upstate New York, every note and every lyric carried the weight of decades of experience mixed with the fire of a band still hungry to connect.
The venue was packed, an audience that ranged from lifelong fans who’d worn out vinyl copies of Reach the Beach to younger listeners who’d discovered the band through rediscovery playlists or movie soundtracks. The energy was warm, anticipatory — like everyone in the room knew they were about to see something quietly special. When the house lights dropped and the opening shimmer of “Outside” began, the murmur turned into a roar.
The Opening
“Outside” was the perfect way to start. Its atmospheric edge set a cinematic tone — moody, rich, and textured. Cy Curnin walked out to the mic with a grin that said he knew exactly what kind of night this would be. His voice — that signature, elastic baritone — still sounded hauntingly youthful. It was smooth when it needed to be, urgent when it mattered. The rest of the band — Jamie West-Oram on guitar, Rupert Greenall on keys, Adam Woods on drums, and Dan K. Brown on bass — built a sonic wall around him, lush and alive.
From there, they dove into “Treasure It”, a song that has aged beautifully. The groove felt alive, the interplay between Brown’s bass and Woods’ crisp drumming tight and propulsive. West-Oram’s guitar tone was classic Fixx — clean but biting, full of color. The audience leaned into it, bobbing, some mouthing along to lyrics that still ring true: “Treasure it, before it slips away.”
Then came “Driven Out,” one of the band’s most underrated singles. It’s a song that feels even more relevant today, a commentary on alienation that sounds timeless. Curnin stalked the stage, gesturing with theatrical flair but never overdoing it. You could see how deeply he still believes in these songs.
Mid-Set Brilliance
The Fixx have always been masters of tone — they can shift from dark introspection to shimmering optimism in a single chord change. That quality was on full display with “World Weary”, a newer track that found its place effortlessly alongside the hits. Its tempo was patient, its message bittersweet, and the performance was a reminder that The Fixx have continued to evolve rather than simply recycle.
“Closer” followed, and it was sublime. The lighting softened to deep blues, West-Oram’s guitar lines weaving through Greenall’s synth pads like ghostly echoes. The band’s ability to balance restraint and emotion was stunning. It was the kind of song where the crowd goes quiet not out of boredom but reverence.
Then, with barely a pause, came “Secret Separation.” The crowd erupted — one of those unmistakable hits that immediately transports you back. Curnin delivered it with total command, his phrasing exact, his charisma effortless. The chorus — “Secret separation, I know you know” — filled the venue like a chant. Everyone sang. Everyone smiled. For those four minutes, time disappeared.
The transition into “Cause to Be Alarmed” was seamless. It’s a song that doesn’t get played enough, but live it carried real weight. The groove was elastic, the rhythm section pulsing like a heartbeat. Woods’ drumming was especially sharp here — intricate but never showy.
Classic Fixx Energy
When “Are We Ourselves?” kicked in, it was like a jolt of electricity. The entire crowd was on its feet. The song remains one of the band’s purest distillations of who they are — angular, clever, and catchy. West-Oram’s riffs snapped like elastic bands, and Curnin delivered every line with a grin and a glint in his eye.
The dreamy “Wish” came next, slowing the pulse just enough to let everyone breathe. Curnin introduced it by talking briefly about perspective and growth — the kind of reflective aside that showed how engaged he still is with his material. Then came “Cameras in Paris,” a deep cut that longtime fans were thrilled to hear. It’s one of those songs that captures The Fixx’s early-’80s art-rock vibe perfectly: sophisticated, cinematic, and just a little eerie.
From there, the set hit one of its biggest peaks with “Stand or Fall.” The audience lost it. It’s the kind of song that still feels urgent, still carries that Cold War-era tension that made it a classic in the first place. West-Oram’s guitar tone was razor sharp, and the band played it with the confidence of musicians who know they’ve created something enduring.
“Wake Up” continued the run of strong material, pulsing and punchy, before the unmistakable opening groove of “One Thing Leads to Another” sent the place into frenzy. It’s still the ultimate Fixx anthem, that perfect blend of pop sheen and rock muscle. The crowd sang every word, the groove infectious, Curnin commanding. It sounded huge — timeless — like the kind of song that could still rule radio if radio worked the way it used to.
The Late-Set Deep Cuts
After the high of “One Thing Leads to Another,” the band dove into “Sunshine in the Shade,” one of their most underrated tracks. It felt perfectly placed — lighter, breezy, but still intricate. Brown’s bass work here was phenomenal, locking in with Woods’ snare to create that unique Fixx swing.
Then came “Deeper and Deeper,” a live favorite and a song that captures their darker, more cinematic side. The lights turned red, West-Oram’s guitar sliced through the mix like a siren, and the energy turned hypnotic. The crowd didn’t dance — they moved, instinctively, like the song was pulling them along.
The night’s emotional crescendo came with “Red Skies.” There’s something about that song — the way it feels both apocalyptic and hopeful — that hits harder live. Curnin’s delivery was spellbinding; he looked out into the crowd as if addressing each person individually. The final chorus had the entire room singing: “Red skies at night, red skies at night.” You could feel chills ripple through the venue. It was transcendent.
“A Life Survived” followed, a newer song that felt like a bridge between eras — modern in tone, but thematically consistent with everything that’s made The Fixx compelling for forty years. Curnin sang it with deep emotion, and it served as a fitting reflection on longevity and perseverance.
Finally, they closed the main set with “Happy Landings.” It was a perfect choice — warm, optimistic, gently philosophical. The crowd swayed, arms around each other, soaking in the moment. The Fixx has always balanced darkness and light, and this song felt like a benediction.
Encore Magic
Of course, they couldn’t leave without “Saved by Zero.” The second the first notes rang out, the place went absolutely nuts. It’s one of those songs that never loses its power, no matter how many times you’ve heard it. Curnin’s delivery was hypnotic, his phrasing exact but heartfelt. The band built it gradually — layers of synth, bass, and guitar locking into that mesmerizing groove. By the final chorus, the entire room was singing along, unified, euphoric. It wasn’t just nostalgia; it was connection.
When the final note rang out, the band gathered center stage, smiling and waving as the applause washed over them. There was a sense of mutual gratitude — the audience for the music, the band for the years of loyalty. And when Curnin leaned into the mic one last time to say, “Take care of yourselves, take care of each other,” it felt like more than a goodbye. It felt like advice.
The Setlist
The Fixx – Albany, NY – 2025
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Outside
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Treasure It
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Driven Out
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World Weary
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Closer
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Secret Separation
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Cause to Be Alarmed
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Are We Ourselves?
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Wish
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Cameras in Paris
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Stand or Fall
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Wake Up
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One Thing Leads to Another
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Sunshine in the Shade
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Deeper and Deeper
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Red Skies
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A Life Survived
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Happy Landings
Encore: -
Saved by Zero
Final Thoughts
What makes The Fixx’s 2025 tour so striking is how alive their music still feels. These aren’t museum pieces. They don’t play their hits as if ticking boxes; they live in them. The sound was immaculate, the band’s chemistry undeniable, and the energy refreshingly modern. Curnin remains an endlessly charismatic frontman — expressive, funny, and deeply present. West-Oram’s guitar work was a revelation, full of nuance and restraint. Brown and Woods held down a rhythm section that was tight but never rigid, and Greenall’s keys added all that shimmering atmosphere that’s always made The Fixx sound so distinct.
This Albany show was more than a concert — it was a reminder of what thoughtful pop-rock can be. Songs about identity, connection, and the human condition don’t have to sound dated; in the hands of The Fixx, they sound urgent. The crowd left buzzing, some lost in conversation, others quietly reflective, all of them glowing from the shared experience.
Nearly 45 years into their career, The Fixx still play like a band with something to say. And in 2025, they said it loud, clear, and beautifully.
Grade: A-