SEXBOMB – Celebrating the Music of Sir Tom Jones

Towngate Theatre, Basildon | Friday 2nd October 2026

There are certain artists whose music seems to transcend generations, and Sir Tom Jones is undoubtedly one of them. With a career spanning more than six decades, a catalogue of enormous hits and a voice that remains one of the most recognisable in popular music, it’s hardly surprising that his music continues to attract audiences of all ages.

And judging by the crowd at Basildon’s Towngate Theatre on Friday evening, the Welsh legend’s appeal is showing absolutely no signs of slowing down.

The Towngate is one of those lovely community theatres that always makes for an enjoyable evening out. Friendly staff, a welcoming bar and café area, and a real sense of occasion amongst the audience before the show had even begun. It’s a great little venue, and one that deserves plenty of support.

What struck me almost immediately was the demographic. I’d perhaps expected an audience predominantly made up of those who had grown up with Tom’s music during the 1960s and 70s. However, there was a surprisingly healthy mix of ages, including plenty of younger faces.

Perhaps Sir Tom’s continued television exposure, particularly through The Voice UK, has helped introduce his music to a whole new generation. Whatever the reason, it was encouraging to see such a broad audience enjoying a celebration of an artist whose career began more than sixty years ago.

Entering the auditorium, we were greeted by a nicely presented stage, complete with some rather lovely retro lighting that immediately evoked the atmosphere of those classic television variety shows of the late 1960s and early 70s.

And then came the band.

Now, as a musician myself, I’m always interested to see what sort of musical line-up a production brings to the stage, and I was delighted to see a substantial live band, complete with brass section and backing vocalist. There’s something about a proper brass section that gives this particular repertoire the punch and excitement it deserves.

At the centre of it all was Andy Wood, better known to audiences as Benidorm Tom, a performer who has built an impressive reputation portraying the great man himself.

The evening got off to a flying start with It’s Not Unusual, which I thought was a rather brave choice. After all, when you open with one of the biggest songs in the entire catalogue, you’ve certainly set yourself a challenge for the rest of the evening!

Fortunately, there was plenty more to come.

“…it was encouraging to see such a broad audience enjoying a celebration of an artist whose career began more than sixty years ago.”

The first half concentrated largely on Tom’s earlier material from the 1960s and 70s, with a succession of familiar hits delivered with energy and enthusiasm. I should probably confess at this point that I’m a rather big Tom Jones fan myself, so there was a fair chance I’d be singing along to most of the evening. And, much to the possible annoyance of those sitting around me, I was!

What particularly impressed me was the thought that had clearly gone into the running order. Rather than simply throwing together a collection of greatest hits, the show had a natural progression, building momentum beautifully as the evening unfolded.

Andy proved to be a wonderfully engaging frontman. His interaction with the audience was relaxed, confident and genuinely funny, with the occasional slightly risqué joke thrown in for good measure. Let’s face it, you wouldn’t really expect an evening celebrating Tom Jones to be entirely devoid of a little cheekiness, would you?

His ability to connect with the audience was a real strength, and it was clear that everyone was thoroughly enjoying themselves.

Another lovely element of the production was the inclusion of Andy’s daughter on backing vocals. A talented singer in her own right, she brought an additional dimension to the performance, and their duet of Baby, It’s Cold Outside was a particularly charming moment. There was something rather special about seeing father and daughter sharing the stage together.

The second half also offered some interesting musical choices beyond the obvious Tom Jones hits.

During the late 1960s and early 70s, Tom hosted his own television variety series, This Is Tom Jones, which featured an extraordinary collection of international artists and some fantastic musical performances.

It was lovely to hear the production acknowledge this part of his career, with songs such as In the Midnight Hourreceiving some excellent arrangements. These numbers gave the band a real opportunity to shine and added some welcome variety to the evening.

For me, this was one of the show’s greatest strengths. It wasn’t simply an impersonator working through the hits; there was a genuine sense of musical appreciation for the wider repertoire and the era in which Tom became an international superstar.

And then, of course, came Delilah.

If there was ever a song guaranteed to get an audience on its feet, this is surely it. By this point the entire auditorium seemed to be singing, dancing and generally having a wonderful time. It was a terrific way to bring the evening to a close, with the audience providing a pretty enthusiastic backing choir of their own!

A particularly nice touch came after the performance, when some of the cast took the time to come out and meet members of the audience. It’s a small gesture, perhaps, but one that makes a real difference and adds to the overall experience.

Produced by Sweeney Entertainments, Sexbomb demonstrated the level of professionalism and production quality that audiences have come to expect from the company. The musicianship was strong, the staging effective and, perhaps most importantly, the whole evening felt genuinely entertaining rather than simply a succession of familiar songs.

Ultimately, that’s what a show like this should be about.

You don’t necessarily need to be a lifelong Tom Jones fan to enjoy Sexbomb, although it certainly helps if you know the words to Delilah!

A thoroughly enjoyable, well-produced and wonderfully feel-good evening of live entertainment, delivered by a talented cast who clearly love what they do.

And judging by the smiles on the faces of the audience as they left the theatre, I’d say the feeling was very much mutual.

There are some theatres that you always look forward to visiting, and Basildon’s Towngate Theatre is certainly one of them. A real gem on the UK touring circuit, it consistently provides a wonderful audience experience and, on this particularly warm July evening, the theatre’s air-conditioned auditorium was a welcome relief from the summer heat.

As I took my seat, I was greeted by a cleverly designed prison set, immediately setting the scene for Johnny Cash’s famous prison years. It was a simple but effective design that instantly transported the audience back to one of the most iconic periods of Cash’s remarkable career.

Following a short narration, the band launched into that unmistakable “boom-chicka-boom” rhythm that became synonymous with Johnny Cash. Within seconds, the audience were clapping along, completely drawn into the performance. It was one of those openings that immediately told you you were in safe hands.

Clive John then strode onto the stage, dressed in black with guitar in hand, and from his very first notes it was clear why The Johnny Cash Roadshow has earned such an enviable reputation. Rather than trying to become Johnny Cash, Clive captures the spirit, warmth and authority of the great man, allowing the music to do exactly what it should — tell the story.

Backed by an excellent four-piece band, the opening section of the show delivered a succession of Cash classics, each performed with authenticity and obvious affection for the original recordings. The musicianship throughout the evening was superb, with every member of the band contributing to recreating that instantly recognisable Johnny Cash sound.

Before long, Clive welcomed his June Carter to the stage and, as the opening bars of Jackson began, she received a wonderful reception from the Basildon audience. Their chemistry together was delightful, bringing humour, warmth and genuine charm to the performance. Alongside the well-loved duets, we were also treated to several solo performances, allowing both performers to shine individually. One standout moment came from Clive during a beautifully delivered guitar and vocal performance that demonstrated exactly why he is regarded as THE Johnny Cash Tribute.

The second half opened in much the same way as the first, with narration helping to guide the audience through the next chapter of Cash’s extraordinary career. I particularly enjoyed the way the evening ebbed and flowed between storytelling and music, never allowing the pace to drop while giving the audience valuable context behind the songs.

Authentic, respectful and hugely entertaining

Among the highlights of the second act was a beautifully understated performance of Hurt, the Nine Inch Nails song that Johnny Cash famously reinvented alongside producer Rick Rubin. It remains one of the most powerful songs associated with Cash’s later years and was performed with real sensitivity. Equally memorable was a lovely rendition of Help Me Make It Through the Night, before the evening built towards the inevitable, but absolutely essential, finale of Ring of Fire. Judging by the audience reaction, it was exactly the ending everyone had hoped for.

One small detail that particularly impressed me came after the final curtain. Rather than disappearing backstage, the entire company made their way into the theatre foyer to personally thank audience members as they left. It’s a simple gesture, but one that says a great deal about the appreciation this company has for those who support live theatre.

There is a reason why The Johnny Cash Roadshow continues to tour successfully year after year. It is a production that respects Johnny Cash’s legacy, celebrates the music without overcomplicating it, and leaves audiences with exactly what they came for — a wonderful evening in the company of one of music’s greatest icons.

Summary

Authentic, respectful and hugely entertaining, The Johnny Cash Roadshow delivers everything fans could wish for. Excellent musicianship, engaging storytelling and a genuine affection for Johnny Cash’s music combine to create an evening that is both nostalgic and thoroughly enjoyable. If the show is heading to a theatre near you, it’s well worth securing a ticket.

Now before we start – I am a MASSIVE Sting fan.
No, I need to really emphasise this a little more. Like a really MASSIVE Sting fan.
So, I would very much like to apologise in advance to ‘Bluejays Productions’ and ‘The Rozzers’ for my critical analysis of their show.

Right, I feel better for that intro…With the stage set fairly minimally, but well laid out, with some nice mood lighting, the very healthy crowd had started to get nicely revved up, even before the band arrived on the stage. It’s high energy music at the end of the day and like myself, the audience were expecting a game of two halves, The Police catalogue in Set 1 and Sting in Set 2. That’s what I wanted anyway.

True to expectation, the band sauntered casually onto the stage and picked up their instruments. There was no theatrical ‘blackout’ and why should there be? This was going to be a ‘gig’ in the true sense of the word. I wasn’t expecting or even wanting it to be any other way. The band are emulating ‘The Police,’ the new wave/ punk crossover power three piece. To be honest, I didn’t know if we’d be standing or seated, either would have suited the occasion. But indeed, the audience were sitting, at least for a while anyway.

We were not disappointed, the band opened straight into Message In A Bottle, an early Police track, transporting me straight back to my youth. My partner (a professional vocalist) turned to me immediately and commented, “He sounds exactly like Sting.”

She wasn’t wrong, that unbelievably high register was in abundance and it was clear that this vocal range and attention to Sting’s metering and phrasing was no accident, but a life long study of the man himself. Never wanting to quash dreams or discourage anybody to do what they love. But if anybody out there is thinking of paying tribute to Sting, they would have to really do their homework to come anywhere near the level of Owen James. Not just in his vocal ability, physical presence or on stage persona, but his exceptional bass playing too, with his thumb technique, staying true to that of Sting’s also.

…it was clear that this vocal range and attention to Sting’s metering and phrasing was no accident, but a life long study of the man himself.

Now I’ve gushed over our leading man, lets move onto the rest of the band, starting with the drummer, Dave – Emulating the talents of such ‘high priests’ as Stewart Copeland, Omar Hakim and Vinnie Coliauta is no mean feet, but executed fabulously. I particularly like the attention to detail of the Tama drums, a nod to early Copeland.

The guitarist, Phil, was a bit of a dark horse to say the least. At first, the new wave/ punk songs of early Police only called for some very nifty rhythm playing, something that many guitarists fail to accomplish, often opting for the glory of complex lead solos. But oh no, this was a very accomplished professional, who had Andy Summers and Dominic Miller’s signature production techniques and tones off to a tee as well as being an outstanding rhythm player. Both Summers and Miller were ‘first call’ session players before filling their prospective roles, well versed and extremely proficient in any music situation, again, no mean feet to emulate, but done so superbly.

Although The Police were known for being a there piece unit, their studio recordings often featured keyboards, so from the ‘get go’ we were treated to onstage keyboard player/ vocalist, Alan, who did a splendid job, not only playing the multiple keyboard parts, but really nailing the sounds of the original recordings. His backing vocals were impressive also. Personally, I would have probably opted to keep the keys ‘off-stage’ in the first half to really give the vibe of ‘The Police’ performing in a late 70s/ early 80s Punk/ New Wave club such as CBGBs. That being said, the first half was laden with all the hits and the energy.

Into Set 2, and as expected, it was all about Sting’s solo career and straight into arguably Sting’s finest album, certainly, commercially his most successful, Ten Summoner’s Tales.’ Personally, I don’t envy the job of putting the set list together to try to please everybody. I would have been quite happy to sit there until 2am listening to the songs that I personally wanted to hear, but really this type of show is 2 x 60 minute sets at most and all the most famous singles were covered off from the 15 solo, studio albums released. ‘Fragile’ being a personal highlight for me.

The audience, up on their feet for much of the latter part of the set, were treated to more Police hits towards the end and as an encore, concluding the fabulous evening’s performance with the iconic ‘Roxanne.’

As I said previously, this is not a theatre show in the traditional sense of the word, but most definitely a gig. None the less, I would very much urge any Police/ Sting fans to make a B-line to the ticket page and look for dates. This really is an outstanding tribute to The Police and Sting…I’ll be going again, that’s for sure.