Transvision Vamp’s Wendy James discusses scandals, reunions, and her disagreement with Elvis Costello
In 1989, Wendy James and her band Transvision Vamp were riding high in the UK music scene. Their success saw them reach number one with their second album and place two singles in the top five. With her distinctive peroxide blond hair and edgy fashion sense, James found herself on the cover of popular music magazines such as Smash Hits and NME. Confident in her abilities, she harbored ambitions of surpassing even Madonna’s level of fame and winning an Oscar.
However, the band’s rapid ascent soon turned into a sharp descent. Within two years, infighting led to the group’s disbandment after the lukewarm reception of their third album. James, disillusioned and weary, retreated from the spotlight, spending a decade away from the public eye. Despite her solo success during this period, she had no desire to revisit the past. “Everyone seems to be reuniting these days,” she remarked dismissively during a sit-down in Toulouse, her home for the past five years.
Surprisingly, Transvision Vamp has now reunited for their first tour in over thirty years, starting in Australia. James approached former bandmate Dave Parsons to play bass on her recent solo tour, which led them to resurrect the band name. What was once a touchy subject for James now seemed like the beginning of an exciting new chapter. The pair reminisced about their audacious visit to EMI where they demanded a record deal, a bold move that landed them a studio session to work on their first single, “Revolution Baby.”
Raised in Brighton and a lifelong music enthusiast, James traces her rebellious spirit back to her teenage years attending a Clash concert that sparked her passion for music. Inspired by punk rock and armed with determination, she left home at 16, ready to take on the world. Forming Transvision Vamp with guitarist Nick Christian Sayer in 1986, the duo’s audacity landed them opportunities that catapulted their success. Hits like “I Want Your Love” and “Baby I Don’t Care” solidified their status in the UK music scene.
However, with success came criticism. While adored by fans and labeled the third “most fanciable female” in Smash Hits, James faced backlash from media outlets such as The Face and Time Out. Even on television, she encountered condescension from older male interviewers, causing her to question their authority. A candid moment on a children’s show, Going Live, where James joked about her lack of underwear, drew both reprimand and lewd propositions from industry figures.
Following the band’s decline in the early ’90s, James flew to the US to explore a solo career. A chance encounter with drummer Pete Thomas from Elvis Costello’s band led to a surprising collaboration. Costello and his then-partner wrote an entire album for James in a weekend, envisioning her as a “puppet girl” seeking validation in a male-dominated industry. Despite high expectations, the album’s modest success left James disillusioned with the music business.
As Transvision Vamp embarks on a new journey, James reflects on her tumultuous past in the music industry. With a mix of nostalgia and skepticism, she approaches the future with cautious optimism, ready to reclaim her place in the ever-changing world of music.