Verging slightly on Beiber territory, on paper, this shouldn’t work but it somehow does… It’s easy to see why this didn’t make the main tracklisting for Brown’s album ‘Fortune’ (it only appears as a bonus track on the Japanese edition) – it’s a little on the cheesy side but it’s a pretty little R&B track.
2) Liberty-X – Holding on For You
Slushy pop ballad from one of the UK’s best and most underrated pop groups. A beautiful melody leads the track, lined by tight harmonies and catchy production.
3) Razorlight – America
A song too easily forgotten until its occasional re-play on the airwaves. Gentle dreamy verses escalate into a huge stadium-anthem chorus. Irresistibly catchy; one of the greatest indie-rock songs ever recorded.
4) Rita Ora and Chris Brown – Body On Me
Steamy and sensual R&B track with crashing beats and a rousing chorus. It’s a massive track; another success in both artists’ ever-increasing discography. One of the hottest tracks currently around.
5) Sigala – Easy Love
The song of the summer. Cleverly sampling massive Jackson 5 hit ‘ABC’, it’s a huge dance track full of house-tinged piano riffs and synthesisers mimicking steel pans, not too dissimilar to Duke Dumont’s huge 2014 summer hit ‘I Got U’. It’s impossible for this song not to leave the listener with a huge grin on their face.
6) Stylo G & Gyption – My Number One
Catchy reggae track. Depends on mood for the enjoyment of this one but it’s a great summer song.
7) Jess Glynne – You Can Find Me
Brilliant Prince styled track full of punchy percussion, gospel layered vocals, funky bass and 80’s synthesisers. SO good.
8) Galantis – Peanut Butter Jelly
It’s hard to determine if this is meant to be taken seriously or as a novelty track. Either way, it’s an impossibly catchy dance track full of sweeping 60’s styled strings.
9) Robbie Williams – Nan’s Song
Beautiful acoustic ballad which closed Williams’ best album ‘Escapology’. Williams croons about the loss of his grandparent, aching with sincerity. One of very few tracks Williams wrote alone, its a well-written and lovely track.
10) Michael & Janet Jackson – Scream
Aggressive and explosive electro-rock track by two of the Jackson siblings. Both Jacksons more or less spit the lyrics in assertion as they demand the press to “Stop f*****g with me”. The fury in the track is understandable considering it was Michael’s first single release since his 1993 child molestation allegations. Awesome, powerful track.
I’ve made a few minor changes to this blog to hopefully make it a hundred times better! I have decided to dedicate this blog solely to music from now on so any personal posts about my life/uni etc. will no longer be featured here. I have set up ANOTHER blog for all of that which you can view here.
My other blog is in its very early stages at the moment so please be patient. I am having to transfer my personal blogs from this one over to the new one. It is also worth noting that if you are interested in viewing my posts on there, you may have to follow that blog in addition to this one to receive notifications of new posts.
I have also given this blog a little make-over and am considering changing the theme once again shortly… But I am proud of its format and of my number of followers etc so thank you all for reading!
Moody and seductive, Gomez is pulling out all the stops to emphasise her new-found maturity. It never quite reaches its full potential; it’s crying out for a huge climax towards the end of the song but with its provocative message and the inclusion of A$Ap Rocky’s rap, it’s a step in the right direction of producing more grown-up music.
2) Jack Garratt – Weathered
Jittery with fierce beats, grunge-y guitars and a silky smooth vocal delivery from Garratt. It’s a huge song with fantastic production.
3) Jennifer Lopez – Play
Throwback to when J-Lo was still producing GOOD music. Drawing upon Prince and Madonna for influence, it’s a catchy and funk-driven dance-pop track with squeaky synths and slamming beats. One of the best pop tracks from the noughties era.
4) Leona Lewis – Fire Under My Feet
Explosive comeback single for 2006 X Factor winner Leona Lewis. Unfortunately, the lead single from Lewis’ forthcoming album has fallen under the radar due to slack promotion from new label Island/Def Jam. With stomping percussion layered with hand claps and moody piano chords, it’s Lewis at her best.
5) Chris Brown – Don’t Judge Me
Sombre, sulky and aching with sincerity, this is Brown at his best. The lyrical content is straight from the heart and Brown croons passionately over stuttering percussion and remote production.
6) Mark Owen – Makin’ Out
Much of this blog discusses how underrated I consider Mark Owen’s solo discography to be but I shall continue to reinforce my point! Quirky rock-fuelled track from Owen’s 2005 album ‘How The Mighty Fall’, this single was only a moderate success and deserved to fare far better. Brilliant lyrics and powerful vocal delivery from Owen as always.
7) Taylor Swift – Bad Blood
The album version is far superior to the single version with Kendrick Lamar although Lamar’s rap does not particularly detract from the power of the song. Fierce.
8) Taylor Swift – Style
Still one of Swift’s best singles of her career so far. Moody and sultry with funky 80’s styled guitars and crashing percussion.
9) Take That – Today I’ve Lost You
One of the most underrated songs of Take That’s career. Originally written as the follow up to 1995’s massive hit ‘Back For Food’, Barlow saved this one (many other songs written for what would have been Take That’s follow up album to ‘Nobody Else’ appeared on Barlow’s debut album ‘Open Road’) and it was recorded for the band’s 2005 Greatest Hits compilation. Barlow’s gentle vocals trickle over a soft and organic backing track, comprised of soft guitar strums and piano chords, sweeping strings and an awesome guitar solo. It’s a shame this was never taken further and released as a single; it’s a beautifully written and performed song.
10) Gary Barlow – My Commitment
Schmaltz-y love song from Barlow’s début solo album ‘Open Road’ which screams ’90’s!’ with its heavily programmed drum machine and glittery pianos. Co-written with songwriting legend Diane Warren, this is a beautiful ballad with a lovely message.
Impossibly catchy synthpop title track of Adam Lambert’s latest album. Full of thumping beats, squealing synths and a flawless vocal from Lambert, it’s a perfect summer track.
2) Disclosure & Sam Smith – Omen
Disclosure & Sam Smith already proved to be a dream formula with 2013 house hit ‘Latch’, both catapulting each other to fame. As Disclosure prepare to release their sophomore album later this year, second single ‘Omen’ attempts to regain some of the magic ‘Latch’ contained and it doesn’t do a bad job in the slightest. Smith’s vocals are raw with sincerity as always, crooning over Disclosure’s usual scatty production. Not quite as good as ‘Latch’ but a fine follow-up nonetheless.
3) Nicki Minaj – The Night Is Still Young
Nicki Minaj’s musical and artist output is certainly intriguing. Hits such as ‘Superbass’, ‘Fly’ and ‘Pound The Alarm’ were tolerable catchy music hits whereas ‘Anaconda’ slipped into the ‘utter garbage’ category. Still, she is a highly successful and interesting artist who clearly has a strong following. ‘The Night is Still Young’ is her latest release and whilst described by many as a dance-pop song, it borders on becoming a ballad with it’s relatively slow tempo. It’s a great song, however, more so musically than lyrically but certainly one of Minaj’s better efforts.
4) Carly Rae Jepsen – Run Away With Me
One of the most underrated females in Pop, Carly Rae Jepsen has a unique talent in being able to co-write effortlessly catchy and clean pop hits, suitable for audiences of all ages. With her seductive, airy vocals and synthpop hits, Rae Jepsen has carved herself a sucessful global career yet still seems to be largely ignored compared to other female artists such as Taylor Swift and Beyonce. ‘Run Away With Me’ is the follow-up to awesome lead single ‘I Really Like You’. Both singles are from Carly’s forthcoming album ‘Emotion’ and is produced by Shellback with assistance from Mattman & Robin (the producers of ‘Higher than Higher’ by Take That and Adam Lambert’s ‘The Original High’. It’s another fun synthpop track, a little bit 80’s with squeaky synths with shuffling percussion and powerful vocals from Rae Jepsen. One of the best songs around at the moment.
5) John Newman – Come and Get It
The British northern-soul crooner is back with massive hit ‘Come and Get It’, a catchy soul-funk track co-written by John himself with pop pioneer Greg Kurstin. It’s a huge song with powerful vocals from Newman.
6) Jessica Simpson – With You
It may be incredibly cheesy and lack credibility but ‘With You’ is pop music at its best. Pretty pop track.
7) Tame Impala – Cause I’m a Man
Gentle, dreamy psychedelic summer track by Australian band Tame Impala. Reminiscent of slow-disco hits from the 1970’s, this is a breath of fresh air in the current state of the music industry. One of my absolute favourite songs currently around.
8) Blonde ft Alex Newell – All Cried Out
Awesome track of the deep house genre with 90’s house piano riffs and incredible powerhouse vocals from American singer/actor Alex Newell.
9) George Ezra – Barcelona
Soft f0lk-styled track; the latest single from George Ezra’s incredible album ‘Wanted on Voyage’. Ezra’s rich, wise-beyond-his-years vocals really are distinctively beautiful.
10) One Direction – Drag Me Down
The killer new single from the much-loved Boyband; the first without Zayn Malik who departed the band earlier this year. It’s not as good as ‘Steal My Girl’ (lead single from the band’s last album ‘Four’) but it proves the continuity of the band’s maturer sound.
Haunting piece of electro-pop comprised of eerie synth sounds, soft beats, tinny guitars and fierce piano chords. La Havas’ soulful vocals and Aqualung’s excessively auto-tuned vocals are a surprisingly effective combination.
2) Years & Years – Memo
Stunning electropop ballad which closes Years & Years’ début album. Olly Alexander’s vocal performance is powerful and sincere as it drifts effortlessly over soft hip-hop beats, piano chords and distorted synthesisers.
3) Years & Years – Eyes Shut
Another beautiful gospel-influenced ballad with jazzy chords and soulful vocals from Olly Alexander. One of the highlights from Years & Years’ début album.
4) Years & Years – Ties
Years & Years doing what they do best; a powerful electronic piece with slamming beats, stuttering synths and sincere lyrics.
5) Seal – Kiss From A Rose
One of the most beautiful love songs ever written. Seal’s raspy vocals have a distinctive flare and powerfully soar above sweeping strings and acoustic guitar strums. It’s hard to believe this gorgeous ballad was not initially a success upon its release until it was included in the movie Batman Forever a year later. It’s also a shame Seal hasn’t maintained this level of success – his music is still just as well-written and powerful. One of the most underrated British artists around.
6) The Internet ft Kaytranada – Girl
A rich fusion of neo soul, electro and R&B with gorgeous vocals, shuffling percussion and littered with eerie sounds.
7) The Blue Nile – Sentimental Man
One of the most underrated bands of all time, not aided by their very limited output over a twenty+ year career. Gorgeous track from their 1996 album ‘Peace At Last’.
8) Nothing But Thieves – Trip Switch
LOVE this right now. Explosive track from Essex-born band Nothing But Thieves with a massive chorus. Conor Mason’s robust vocal delivery often drifting into his falsetto range really drives this powerful song.
9) Matthew Morrison & Laura Michelle Kelly – What You Mean To Me
Absolutely stunning ballad composed by Gary Barlow & Eliot Kennedy for the Broadway musical ‘Finding Neverland’. Matthew Morrison & Laura Michelle Kelly is a perfect pairing and their voices gel perfectly on this dreamy duet.
10) The Corrs – What Can I Do
Upon release in early 1998, this song wasn’t a hit until it was remixed by Tin Tin Out who added the punchy percussion and metallic guitar riffs. The remixed version was released in the summer 0f 1998 and became a massive hit. One of the greatest pop songs ever written with a syrupy sweet melody, gorgeous strings, a catchy beat and awesome vocals.
Any mention of Mika usually results in association with his smash début single ‘Grace Kelly’. It’s hard to believe that it’s been eight years since ‘Grace Kelly’ topped the chart in the UK and multiple other countries around the world. Certainly, accompanying album, ‘Life in Cartoon Motion’ was also a huge success, spawning four top ten singles. Follow up album ‘The Boy Who Knew Too Much’ was also a success but lead single ‘We are Golden’ was its only real triumph with follow up singles bombing outside of the Top 40. 2012 saw the release of ‘The Origin of Love’, an imperceptible musical departure from previous albums but one which did signify greater maturity. The album limped into 24 in the UK album chart, hugely disappointing for an album worthy of a far better reception.
Spring forward to June 2015 and there was the surprise arrival of Mika’s latest offering, ‘No Place in Heaven’ which seemingly appeared out of no-where. Perhaps Team Mika should invest more on promotion and generating the buzz that first surrounded Mika at the beginnings of his career. Still, it has so far fared at least a little better than ‘The Origin of Love, peaking at number nineteen in the UK album chart.
‘No Place in Heaven’ is an archetypal Mika album, drizzled in camp abundance, littered with falsetto easy sing-along melodies, an over dependency on the bashing of piano keys, foot stomping percussion and containing more fun than a barrel of monkeys. It’s a return to the immaturity and simplicity of Mika’s first two albums, perhaps in a desperate attempt to regain some of his seemingly fading commercial magic. It’s an irresistibly catchy album full of well-written hooks, organic instruments and a strong vocal delivery from Mika as always; his extensive vocal range is certainly to be admired.
Album opener ‘Talk About You’ begins with a buzzing bass line before launching into a bouncy, buoyant pop-track with an irresistible melody. ‘All She Wants’ maintains the party atmosphere with ‘Mickey’-esque cheerleader hand claps, rich and layered harmonies and a rousing chorus. The album briefly visits the 1960’s with the springy and flamboyant ‘Oh Girl You’re The Devil’ whilst it all goes a bit Fleetwood Mac on ‘Rio’ It’s the up-tempo tracks which are most effective on this album; the ballads remove the fizz and energy of the album aside from the lovely ‘Good Guys’.
It feels like Mika is having a whale of a time and rightly so. He’s delivered a fine album, a master-class in song-writing as always and more than proves his worth. It’s not quite as robust as ‘Life in Cartoon Motion’ or as consistent as ‘The Origin of Love’ but it’s an admirable pop album which proves our UK artists are still something to be very much proud of.
Rating: 4/5.
‘No Place in Heaven’ is available now on Casablanca records.
2015 has certainly been Years & Years’ well, year… The British electronica trio have witnessed two singles reach the top 3 (one reaching the Number One spot and the other soaring straight into Number Two, respectively), a number one album and a slot at this year’s Glastonbury festival.
Debut album ‘Communion’ is a pleasant, beguiling affair; a fusion of synth-pop, electronica and house music. Abundant with festival ready hooks, dreamy synths, squeaky bass lines and front man Olly Alexander’s wailing vocals, it differs from usual synth-pop band albums in that it avoids separating the edge usually associated with this genre and heartfelt music. It makes use of punchy backing tracks and lyrics bursting with sincerity, resulting in a mixed affair of successes and failures.
The album’s main successes are its most successful singles, the ever-endearing ‘King’ and detuned ‘Shine’ in addition to its ballads. Gentle synth-pop ballad ‘Eyes Shut’ utilises elements of gospel music, complete with jumpy piano chord changes and finger click percussion. ‘Without’ is a saccharine synth-pop moment but it works whilst closing track ‘Memo’ is heartbreakingly beautiful. There are other triumphs – ‘Worship’ is a genuine highlight with its dirty, punchy percussion and gospel-induced synths whilst second track ‘Real’ (which should have been the opening track instead of the dreary and uninviting ‘Foundation’) is memorable with its squeaky bass lines and stamping percussion.
Whilst it may challenge the norm associated with the synth-pop genre, it’s hardly innovative. The album’s main issue is that the more up-tempo tracks lack diversity and therefore become instantly forgettable. Moreover, whilst Alexander’s voice certainly transmits an enchanting vulnerability and uniqueness, there is the possibility this may not hold up quite as strongly live, free of the highly cherished auto-tune.
Nevertheless, the album contains enough charm to just about compensate for these teething problems. It is an enjoyable listen and serves as a fitting introduction to the band. Its utilisation of a range of genres is a charming device but this could be exploited much further.
It’s perhaps best to consider Years and Years as a work in progress but they are certainly one to watch.
Rating: 3/5.
‘Communion’ is available now on Polydor/Universal records.
Hopelessly romantic, a little cheesy maybe but certainly very beautiful. One of the more successful Country-Pop crossover songs that enabled country music to be heard and appreciated by a wider audience. Shania’s vocals are distinctive and gorgeous, as are the harmony layered backing vocals in the chorus. One of the greatest love songs of all time.
2) En Vogue – Don’t Let Go
One of the best R&B tracks of the 90’s. Furious, whaling guitars, aggressive vocals, harsh piano chords with an awesome chorus. Those harmonies are fierce too! Girl power at its best.
3) Wolf Alice – Your Loves Whore
Wolf Alice have been my new discovery this week. Their album is definitely worth a listen, a collection of uniquely and innovatively arranged indie tracks. This is one of the most powerful songs from the album; love the sheer power of it and its slightly distorted feel.
4) Wolf Alice – Freazy
SO good. Dreamy and smooth with fierce percussion, a rich bass line, silky harmonies and squeaky guitars. Effortlessly catchy.
5) Wolf Alice – Swallowtail
Haunting and powerful with an explosive ending.
6) R. Kelly – I Believe I Can Fly
R. Kelly at his best with his signature song. An amalgamation of R&B, Soul and Gospel music, this beautiful ballad was featured in the 1996 film ‘Space Jam’ before being included on Kelly’s 1998 album ‘R’. It’s simple but very beautiful featuring the classic 90’s key change!
7) Christina Perri – A Thousand Years
One of the most gorgeous love songs ever written. Perri’s voice is distinctively unique and drifts beautifully over minimal instrumentation. Don’t let the fact this was on the soundtrack to one of the Twilight movies influence your judgement; it’s a song that should be thought of entirely separate to the movie.
8) Joe Stone & Montell Jordan – The Party (This is how we do)
Nostalgia much?! Joe Stone gives Montell Jordan’s 90’s R&B classic ‘This is How We Do’ a makeover with thumping beats and bouncy synthesisers, resulting in a fun, updated version of the original.
9) Jose Gonzalez – Leaf off/The Cave
Stunning, soft folk-styled track. This is how music should be.
10) The Layabouts ft Portia Monique – Colours of Love
Soulful house track with funky guitar riffs, thumping percussion, a fierce bass line and soulful vocals. LOVE this!
1) Mark Ronson – The Giver (Radio 1 Live Lounge Performance)
Radio 1’s live lounge performances present an opportunity for artists to really demonstrate their art through adapting and arranging existing songs by other artists. This is an awesome interpretation of Duke Dumont’s ‘The Giver’. Ronson gives his cover a 90’s vibe with funky guitar riffs, a drum machine loop and whistling synthesisers. It’s a little repetitive but it’s a great version.
2) Prides – Messiah
Explosive, synthpop track by Scottish band Prides. It’s a little bit 80’s with a powerful sing-along chorus. Can’t get enough of this right now.
3) Justin Bieber, Skrillex & Diplo – Where Are U Now?
A bit of a guilty pleasure on many levels. A collaboration between two artists which I usually don’t have much time for, there is something both endearing and catchy about this EDM track. Bieber’s vocals are sincere and Skrillex and Diplo’s chaotic production adds an extra dimension to what could otherwise work perfectly well as a gorgeous ballad.
4) Flo Rida & Robin Thicke – I Don’t Like It, I Love it
Another guilty pleasure; I don’t think it is possible to shamelessly admit to enjoying any song with Flo Rida’s involvement. This is irresistibly catchy, however. Funky guitar riffs and bass lines, hand-clap percussion, silky smooth vocals from Thicke and a frighteningly seductive whistle hook, it’s the perfect pop song.
5) Major Lazer, DJ Snake and MO – Lean on
Much of this song’s success is built upon it’s amalgamation of different genres. It draws upon EDM, electropop, trap and moombhaton music, resulting in an utterly irresistible track with bouncy percussion and squeaky synthesisers. SO good.
6) Carly Rae Jepson – I really Like You
Whatever your opinion on Carly Rae Jepson, she sure knows how to write and perform catchy pop music. It is already at risk of becoming as irritating as ‘Call Me Maybe’ but for the moment, it remains the perfect pop song with Jepson’s famous breathy vocals, slamming beats and a repetitive refrain. Catchy as hell.
7) Mark Owen – Giveaway
The entirety of Owen’s solo career is criminally underrated and last album ‘The Art of Doing Nothing’ is no exception. ‘Giveaway’ is the haunting, rousing opening track, building into a catchy electropop song with Owen’s distinctive vocals echoing endlessly into the heavily synthesiser dependent backing track. Awesome song.
8) Oasis – Stand By Me
An often commercially overlooked Oasis track but just as awesome as their other material from the 90’s. Well written as always by Noel Gallagher & Liam’s prominent drool carries the song.
9) Circa Waves – My Love
This song has been a favourite of mine since the release of Circa Waves’ debut album earlier this year. There’s something incredibly beautiful about it despite it not being a ballad. It’s a massive indie track with raw electric guitars, fierce drums, driving bass lines and a passionate vocal performance by frontman Kieran Shudall. The song has been re-recorded for release as a single, an unnecessary move as the album version remains superior but it’s still awesome. I’m so glad it’s the next single.
10) Wolf Alice – Bros
LOVE this. Tinny, manic percussion, gentle vocals, a powerful driving bass line and reverberating guitars with an instantly memorable hook. One of the best songs out there right now.
For many, a Take That tour is the pinnacle event of the year; an exuberant spectacle of nostalgia, triumph and escapism. Past proceedings have involved cars onstage, rain machines, holograms, a transportable elephant, and a gigantic twenty metre robot amongst countless other stunts, polished dance routines, props and backdrops. But in 2015, at the ages of 43 (Owen), 44 (Barlow) and 47 (Donald), you would have perhaps thought Take That tours may begin to demonstrate signs of deceleration. Latest tour ‘Take That Live 2015’ showed nothing of the sort, however.
Take That’s live shows of 2015 was the latest risk in a series of many; the foundation of Take That’s career has been built upon gamble. Their career in the nineties was steered precariously by manager Nigel Martin-Smith who had exceedingly limited managerial experience prior to their existence. Then there was their launch amidst camp, flamboyant performances in gay clubs dressed primarily in bondage gear. Fast-forward to 2005 and a tentative return occurred, minus Robbie Williams, then five years later, just as fans had become used to Take That as a four-piece, Williams entered the fold once more. Just when it appeared that things had all settled in the Take That camp, 2014 brought an amalgamation of simultaneous risks. Since 2011’s hugely successful Progress Live tour, Williams had once again taken flight, returning to solo projects; his attention on the arrival of his second child with wife Ayda Field. Meanwhile, the Thatter fanbase was rocked pugnaciously by the surprise departure of much loved member Jason Orange. Incorporate a highly publicised tax scandal and theoretically, the continuation of Take That shouldn’t have been possible. But once again, Take That took a risk which paid off, attaining a number one single, a number one album and a sell-out arena tour featuring ten shows at the O2 arena in London.
Picture courtesy of Unreality TV.
Take That’s live shows of 2015 were some of their best yet, a lavish affair with no expense spared. Confetti explosions, fire canons, schizophrenic lighting, an immense back catalogue of pure pop hits and the odd dance routine, Take That were out to please. And that they did. “We are what’s left of Take That”, the man-band chant in unison. It’s one of a handful of comical lines delivered by the band but one that carries a poignant undertone. Whilst Williams’ absence is less problematic (the public had five years to become accustomed to Take That as a four-piece after all), Orange’s is more conspicuous. There was a visible cavity onstage and Orange’s presence was still greatly missed both on a visual and entertainment level. There were a handful of particular poignant moments (his verse in ‘The Garden’, backing vocals on ‘Up All Night’ and most dance routines) where the beginnings of sentimentality crept in. These were never allowed to develop excessively, however and were vastly prevented by the industrious production onstage. Indeed, sometimes, it was almost as if the franticness of onstage proceedings was to compensate for the loss of Williams and Orange; in a sense, it worked. There was seldom a dull moment, rarely an opportunity to dwell on Orange’s absence for more than a few seconds.
Electro-pop breathy synthesiser interludes no doubt Donald’s influence, bursts of colour, a mob of cast members descending onstage parading in colourful attire and anoraks, an eccentric male protagonist involved in bizarre experiments, eruptions of Willy Wonka-esque encouragement carry the show for fifteen long minutes before Take That’s explosive arrival onstage prompting rapturous cheers and ear-piercing squealing from the audience. ‘I Like it’ is the perfect opener to the tour, a flamboyant electro track comprised of squeaky synthesisers, meticulously synced hand claps for maximum audience participation and a rousing chorus. “I don’t know what the people see but I like it”; it’s evident the song was written specifically for the live occasion. The trio power through more crowd rousing tracks, Progressed’s ‘Love Love’, ‘Get Ready For It’ complete with eruptions of flame followed by ‘Greatest Day’ staged with minimalistic production, a wise decision as the song holds the crowd enough alone. It’s still as euphoric as ever, prompting raised arms from most audience members and explosions of multi-coloured ticker tape to envelop all super-fans in the inner pits.
Picture courtesy of Capital FM.
The foremost surprise in the evening is the stunning and theatrical performance of ‘The Garden’, the opening track to 2008’s ‘The Circus’ album. Accompanied visually by a spectacular silhouetted puppet show, projected onto two huge white curtains which encompass those in the inner pits, it’s a beautiful moment for all those in the arena and the perfect complement to a song that frankly deserves greater credit. Another pinnacle of the show, ‘Portrait’, is performed as Barlow, Donald and Owen soar above the heads of thousands of adoring fans on a bike-come-tandem-come-side car hybrid. It’s a spectacular moment and somehow, the barber-shop-styled chorus is maintained pitch perfectly. The inclusion of ‘Affirmation’, a previously neglected ‘Progress’ album track written primarily by Donald is another surprise. It could have potentially served as a toilet break opportunity but intelligent staging in which the Take That lads become evil techno-gods thumping out the song on synthesisers and drum machines make it work and bizarrely won the audience over. The thunder-god theme continues onto ‘The Flood’ complete with stormy backdrops on large LED Screens and assistance from a rain machine. 90’s hits ‘Relight My Fire’ (presented with an oriental theme on this tour) and ‘Could It Be Magic’ contain as much camp abundance as back in their hey-day, accompanied by dynamic dance routines whilst an aerial performer romps around acrobatically in an elevated, illumine sphere for summer belter ‘Let in the Sun’. As Owen himself acknowledges, the show borders on serving as a voyage through British weather.
Elsewhere, just as the show becomes in danger of becoming profligately exhausting, the thirty plus assemble is removed from the stage for more gentle moments, mostly for classic Barlow-ballads. ‘Flaws’, sung beautifully by Gary Barlow is accompanied by a beautiful contemporary dance routine smothered in homoeroticism by Owen and Donald. A shirt lift mid-way through by both members induced wild screams from the audience, reinforcing the unfaltering sex appeal fastened to the band. It’s a move that prompts a mixed response from critics but sends fans into overdrive. Likewise, other songs require less of a spectacle to be made. Major hits are performed with minimal fuss: timeless pop perfection ‘Patience’, the gorgeous ‘Said It All’, ‘Pray’ and even ‘Back For Good’ is left well alone on this tour, performed sitting on stools, a move Barlow has previously been the first to criticise. Perhaps the intensity of live shows is finally getting to them after all. Regardless, many of Take That’s hits are strong enough to be performed without major production, leaving all expense to be lent to other parts of the show.
Picture courtesy of Birmingham Mail.
The set list itself mainly draws upon TT4 material – songs recorded between 2006 and 2009, a decision which confused many critics. Criticisms are unjustifiable however. At least one song from all seven Take That albums is performed; fans are well catered for. Occasionally, Barlow’s voice becomes a little uncertain, the first time in the band’s career in which there is an auditory strain to hit certain notes although equitably, this is on the band’s more demanding material. This is compensated through the swing-styled vocals he adds to the ending of ‘I Like It’ and the cleaner falsetto vocals he manages to produce on ‘Portrait’ which somehow manage to exceed the record version.
The show temporarily closes with ‘Rule the World’, which remains Take That’s superlative song, before an encore of ‘Shine’ and ‘Never Forget’ follows. The latter closes the show triumphantly as always; the sight of twenty thousand pairs of arms in the air for the latter is breath-taking and the perfect finale to a magnificent show.
They may have been two men down in a downsized venue (gone are the football stadiums, although they have been replaced with still impressive sized arenas) but Take That somehow managed to surpass previous tour Progress Live with a vibrant, theatrical and greatly entertaining show, the music event of the year.
the-music-box.co.uk 