In the latest episode of Misadventures in Music, we’re diving headfirst into the euphoric chaos and musical revolution that was Frankie Goes to Hollywood—with none other than Brian Nash, the band’s iconic guitarist, as our guide.
For many, Frankie didn’t just arrive in the ‘80s—they erupted, transforming synth-pop into a cultural battlefield. Their hits like Relax, Two Tribes, and The Power of Love became anthems of rebellion, sexuality, and pure pop brilliance.
But what was it really like at the heart of pop?
“We were pop music. Sexy, subversive, unstoppable.”
From tax exile misadventures to accidentally setting fire to a crumbling Irish mansion, Nash pulls no punches as he shares behind-the-scenes stories that are equal parts hilarious and jaw-dropping. Imagine chopping firewood by torchlight while high in a leaky barn in County Carlow, or starting a chimney fire that leads to the Irish fire brigade joining a whisky-fueled singalong. Yep. That happened.
“The biggest check I ever signed? £360,000… for taxes.”
Nash reflects candidly on fame’s fast burn, being sued by fire brigades, rubbing shoulders with Status Quo, Def Leppard, and Spandau Ballet, and what it was like to be a tax exile who still ended up paying the full bill. His memories unfold like a proper rock novel—except it’s all true.
On Music, Legacy, and Survival
He discusses the band’s humble beginnings in Liverpool’s punk scene, how he learned to play guitar from the O’Toole brothers, and the surreal experience of seeing Frankie go from a struggling act nobody would sign to storming Top of the Pops and dominating charts worldwide.
One standout moment: Nasher remembers hearing the final mix of Relax for the first time, in the backseat of a car. “Our jaws hit the floor. It sounded better than anything on the telly.”
And Then… They Hit #1. Twice.
But Frankie’s rise wasn’t just about music—it was visual, political, and incendiary. From the controversial BBC ban on Relax to Two Tribes’ Cold War commentary and surreal nuclear war PSAs, Frankie didn’t play it safe. They made pop dangerous again.
“There are no crap photos of The Clash… or Frankie.”
Nash also pays tribute to the power of imagery—from their photo shoots that cost £25k a pop to the iconic t-shirts that became part of ‘80s streetwear legend (and were originally sold to the band by Paul Morley for £50 a slogan).
A Love Song in a Punk Shell
And of course, The Power of Love, written on a bunk bed in a Liverpool childhood bedroom, gets its moment. Nasher calls it his “reward” song, the one he still plays for fans who stuck with him through all the experimental solo material.
