THIRTY-five years ago Heaven 17 recorded what would become widely regarded as one of the classic albums of the 1980s.

Last night they performed Penthouse and Pavement in its entirety and proved that rather than being some kind of musical museum piece, it's still a vibrant - and relevant album

This was very much a night of celebration with Penthouse and Pavement forming the basis for the first half of the show.

A stark stage setting with predominantly white lighting and smoke set the mood for the album opener Fascist Groove Thang.

Singer Glenn Gergory and keyboard wizard Martyn Ware were joined by additional keyboard player Berenice Scott and backing singers Rachel Mosley and Kelly Barnes, who all proved real stars on the night.

Cleverly, although we were treated to Penthouse and Pavement track by track, some of the numbers had been slightly rearranged and filled out for a live set making them even more enjoyable.

Gregory was in his element urging the crowd to join in - not that they needed any encouragement - while Ware, whose stage look is more accountant than rock star, unleashed a whole range of electronic tricks from his trusty Roland keyboard.

Highlights included Geisha Boys and Temple Girls and We're Going to Live for a Very Long Time. As an added bonus we got We Live So Fast, the B-side of the hit single Temptation as a first half closer.

Part two and it was party time. The British Electric Foundation was a side project of Gregory and Ware in which they involved established artists in unusual electronic (naturally) cover versions.

This is the first time that BEF has been taken on a full tour - and I suspect it won't be the last.

Gone was the monochromatic colour scheme on stage. It was like switching from a black and white set to colour - all that was missing was a giant glitter ball.

In the wrong hands the second half of the show could have been a cheesy car crash.

But with Martyn Ware grinning from ear to ear like the Cheshire cat it was a total success.

Three guest singers came and went each doing one of their own songs and then a BEF-style cover.

Peter Hooten had to do the Farm's anthemic All Together Now and followed it with a hugely enjoyable version of the Clash's Bankrobber.

Then Neasden's own queen of soul Mari Wilson did Just What I Always Wanted - which remains a great song - followed by stunning version of Rescue Me.

And finally it was Glen Matlock who produced a moment I don't think anyone had expected and will probably not forget for a long time.

After a rumbustious version of the Sex Pistols Pretty Vacant he launched into a cover of Pharrell Williams' Happy. If ever a moment epitomised what BEF is all about, this was it.

Glen Gregory returned for Wichita Lineman before an astonishing, jaw-dropping version of Temptation with Kelly Barnes unleashing some vocal pyrotechnics that had to be heard to be believed.

Finally, it was time for the guest artists to get back on stage for a tribute to Colin Vernacombe and a rendition of Black's Wonderful Life.

A classic album, a hugely enjoyable series of cover versions - what more could you want?