By Vlad T, Rock At Night Detroit

Live Review: Lene Lovich Band – Ferg’s, St. Petersburg, FL – October 28, 2025

To fans of the early years of New Wave, Lene Lovich was a seminal figure.

For anyone unfamiliar with her oeuvre, imagine a bridge between Nico and Amanda Palmer, infused with a quirky sense of operetta and rhythmic pop, vaguely Balkan vocal stylings, and a defiant, playful feminist dimension. All of which was on full display in the early years of MTV and college radio.

A native of Detroit, Lovich moved at age 11 to the UK with her British mother. Her father’s Serbian/Balkan background eventually proved to have bearing—in one way or another—on her presentation and singing, not to mention deeper themes explored in her songs. (Lovich is one of two stylistically different—but independent-spirited—female Detroit musical expats whose path and took them to artistic glory in England in the late 70s/80s. The other artist? Suzi Quattro.)

After enjoying considerable UK and American alternative chart success, the UK transplant’s career saw her take on animal rights in collaboration with kindred soul Nina Hagen before going on hiatus to raise two daughters.

Having returned to public performance in 2012, Lovich has resumed recording and performing new and classic material throughout Europe and Asia. 2025 finds her returning to touring in North America for the first time in over years.

In addition to opening on a larger tour featuring fellow New Wave legends the B-52s and Devo, Lovich and her band are also playing more-intimate venues, such as Ferg’s in St. Pete’s lively Arts district, which is where Rock At Night caught them.

A strong turnout enthusiastically greeted Lovich and her cohorts. From the moment she emerged on stage, it was obvious that her dramatics and ability to command an audience’s attention are as powerful as in her commercial heyday. (This reporter was able to see her at Detroit’s St. Andrew’s Hall in 1983.)

Negotiating through a set of her early hits (“Lucky Number,” “New Toy,” “Say When”) and deeper catalog faves (“Angel,” “Maria,” and the emotional closer “Home”), Lovich displayed an unwavering energy and sense of tune that made for an enthralling evening that went by way too quickly. Showing that she’s a complete musician, Lovich played a highly expressive sax on “Joan.” Judging from Lovich’s reaction, the audience’s fondness for Lovich was reciprocal with her, to the point that she expressed the hope everyone can gather again in the future.

At this stage in Lovich’s career, her voice and onstage expressiveness are—like her spirit—strong and ageless. The likes of the appreciative St. Pete audience certainly hope that this augurs more North American shows in the future.

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