Bob Geldof of The Boomtown Rats. Photo by Chyrisse.CPT_0902 — Bob Geldof of The Boomtown Rats. Photo by Chyrisse.

By Wendy Hunter, Journalist, and Chyrisse Tabone, Photographer – Rock At Night, Tampa

The Boomtown Rats “50th Tour Anniversary” with Special Guest The Horn – Eventim Apollo, London, United Kingdom, October 31, 2025

On a crisp Halloween night in 2025, the Eventim Apollo in Hammersmith, London, transformed into a pulsating shrine for punk-tinged nostalgia as The Boomtown Rats marked their 50th anniversary with a ferocious bite that proved age is no barrier to rebellion. This Art Deco gem, draped in velvet seats and bathed in soft, amber lighting, hummed with anticipation as an over-40s crowd—dubbed Ratpeople—filed in, their enthusiasm undimmed by decades. Perched in the balcony, I watched the hall fill with fans clutching souvenir rat masks, handed out to commemorate the band’s inaugural gig on Halloween 1975.

Jonny Taylor of The Horn. Photo by Chyrisse.

Kicking off the evening was North London’s The Horn, a five-piece indie-rock outfit channeling the finest Britpop vibes with exquisite harmonies, joyous yet introspective melodies, and anthem-ready hooks. Frontman Jonny Taylor’s hauntingly soft vocals soared over his guitar work, backed by Danny Monk’s harmonies and lead guitar flair, Nick True’s pulsing bass, Ed Cox’s atmospheric keyboards, and Alex Moore’s relentless drums. Having toured the UK with R.E.M. at the close of the last century, this tight ensemble stormed the stage to the brassy swagger of “Goldfinger,” their neon “The Horn” sign blazing white behind them. Flashing lighting poles synced to the beat, amplifying tracks like the dreamy, darker “Passion” with its emotive guitar layers, and the newest gem “Something You Forgot”—a bittersweet love song about fleeting club encounters, built on steady rhythms, folding guitars, and those delightful vocal blends. Their set, drawn from albums like People Like Us, was a masterclass in delivery, leaving the crowd primed and buzzing.

Bob Geldof of The Boomtown Rats. Photo by Chyrisse.

As the lights dimmed further, a short documentary, Citizens of Boomtown: The Story of The Boomtown Rats, flickered to life, weaving psychedelia, collage, cubism, surrealism, and pop art into a vivid tapestry of the band’s history. Past and present members flashed across the screen, alongside their cheeky goals: to get rich, to get famous, and to get laid.” Whoops and claps erupted, only to swell louder when a video of a massive 50th-birthday cake—adorned with rodents—exploded in volcanic fashion to the birthday tune, rats scattering everywhere. A murmur of boos greeted a Thatcher cameo, but cheers drowned it out as the seven-piece Rats—hailing from Ireland since 1975—took the stage. Blending new wave, power pop, and rock with in-your-face energy, the lineup featured originals Bob Geldof (vocals, guitar, harmonica), Pete Briquette (bass, keyboards, backing vocals), and Simon Crowe (drums, percussion, backing vocals), rounded out by Alan Dunn (piano, keyboards), Darren Beale (guitar, keyboards), and Paul Cuddeford (guitar).

Geldof, the activist firebrand behind 1985’s Live Aid—the satellite-linked mega-concert in London and Philadelphia that rallied global famine relief and earned him an honorary knighthood from Queen Elizabeth II—commanded the night with raw charisma. The Rats, who skyrocketed in 1978 with UK Top Ten hits like “Like Clockwork” (No. 6) and “Rat Trap” (No. 1), disbanded in 1986, reunited in 2013, and have since released seven studio albums (the latest in 2020) and a dozen Top 40 singles. They blasted off with “Rat Trap,” its tinkling piano and sax blast giving way to Geldof’s snarling “lotta rotten going on tonight,” igniting the 2,000-strong crowd in rat masks for a flash photo op.

Patrons wearing rat masks at the Boomtown Rats concert. Photo by Chyrisse.

The set was a relentless thrill: the ticking urgency of “Like Clockwork,” Geldof’s wild dancing on “Neon Heart” amid twin guitar solos, and the piano-led singalong of “I Don’t Like Mondays”—Geldof channeling its haunting tale of a 1979 school shooting (a UK No. 1, banned elsewhere) while decrying starving children and war-torn fields. Harmonica mastery shone in “(She’s Gonna) Do You In,” Geldof shaking, growling, and sliding to his knees in a transfixing display that drew screams. He quipped about scrubbing Sting’s traces from the stage before “Someone’s Looking at You,” sending the audience into a standing frenzy. Amid Gaza, Ukraine, and Sudan horrors, Geldof rallied a chant: “It’s you…and me…against the whole fuckin’ world!”

Both acts delivered highlights in spades—The Horn’s polished anthems and harmonious warmth as the perfect opener, The Boomtown Rats’ versatile, passionate onslaught proving their bite remains razor-sharp. This 50th anniversary triumph was essential viewing for punk survivors and new converts alike; catch them if they prowl your way—the Rats still devour the stage with unapologetic fury.