In the annals of 80s pop, few songs capture the era's emotional synth-pop sound as perfectly as Thompson Twins' 'Hold Me Now'. But behind its polished production lies a raw story of secret romance, creative conflict, and a band on the cusp of global fame. The track's origins are far from the glamour of its eventual success, rooted instead in London's squat scene and a passionate, hidden relationship.
From Squats to Synths: The Birth of a Trio
The journey began when Tom Bailey's initially seven-piece, guitar-based band, Thompson Twins, were living in a squat. It was there he met Alannah Currie, a fellow squatter and member of the anarchic feminist improv group, the Unfuckables. After Currie stole the show at a Thompson Twins gig, the band slimmed down to the iconic trio of Bailey, Currie, and Joe Leeway. This shift, coupled with Bailey's purchase of a synthesiser, changed their destiny. Their track 'In the Name of Love' became a club sensation, particularly in America, proving they could craft hits. "We thought: 'Why don't we actually design it to do well?'" Bailey recalls.
A Creative Clash Fuelled by Secret Affection
The genesis of 'Hold Me Now' was anything but smooth. The trio retreated to a house to write new material, where a fierce creative disagreement erupted into personal insults. However, this conflict was underpinned by a powerful secret: a romantic relationship between Bailey and Currie, which they had kept hidden from the press. The argument and subsequent reconciliation became the song's direct inspiration. "We soon made up and immediately wrote 'Hold Me Now' about that process," says Bailey. The song flowed easily, marking a deliberate move away from their club-oriented sound towards something slower, more heartfelt, and emotionally mature.
Currie reveals the lyrics began as a frenzied love letter from her to Bailey. The now-famous line about "a picture, pinned to my wall" was inspired by a photo-booth picture of the couple kissing, which she kept inside her writing book. The words were then tailored for Bailey's voice. With their regular producer unavailable, Bailey recorded most of the track himself at RAK Studios, a first for him. The final touch was the shared falsetto vocals between Bailey and Leeway.
The Unstoppable Rise of a 'Monster Hit'
From the moment it was finished, the band knew they had something special. "Everyone who heard it said it was going to be a big hit, including the BBC," Bailey notes. Released in November 1983 to target the coveted Christmas number one spot, the band were recording in the Bahamas when the single took off. They emerged from the studio to find it "racing up the charts", transforming into what Bailey describes as a "monster hit".
The song's legacy endures, both publicly and personally. While Bailey and Currie are no longer a couple, they share two children and, along with Leeway, remain close like family. For Currie, hearing 'Hold Me Now' unexpectedly still brings a powerful emotional rush. The track's story is now preserved in the new release, 'Industry & Seduction: A Thompson Twins Collection', and Tom Bailey continues to tour the UK, bringing the classic hit to new generations of fans.
