2015 in Music

As 2015 comes to a close, we wanted to (as always) look back at the year in music. So with no further ado, here’s The Music Box’s official guide to the best music of 2015.

SONG OF THE YEAR:

Little Mix – Black Magic

Whilst eventually played to death, this song is easily one of the catchiest pop tracks of 2015. A 21st century of ‘Girls Just Wanna Have Fun’, it’s fierce, fun and memorable. The perfect pop hit.

ALBUM OF THE YEAR:

Carly Rae Jepsen – Emotion

One of the most underrated pop albums from 2015. ‘Emotion’ draws upon 80’s synthpop in a similar way to Taylor Swift on ‘1989’ but with superior production. Every beat is meticulously placed and the focus is more on the songs rather than vocal performance. The entire album contains a naivety lacking from most pop albums and it’s a whole lot of fun from start to finish.

RADIO 1 LIVE LOUNGE OF THE YEAR:

Rixton – Where are U Now (Justin Bieber Cover)

Boyband Rixton transform this jittery EDM hit into a gentle 90’s R&B track with gorgeous chords, lush harmonies and an element of Soul lacking in the original.

BAND OF THE YEAR:

Circa Waves

British Indie-rock band Circa Waves launched onto the scene this year with brilliant single ‘Fossils’. Their début album ‘Young Chasers’ was released in March to positive response and the band have subsequently been touring the world.

ARTIST OF THE YEAR:

Carly Rae Jepsen

One of the most underrated female pop stars, Carly Rae Jepsen avoids controversy and instead keeps her track record solely focussed on music. Whilst many may be put off by undeniably catchy but somewhat irritating hits ‘Call Me Maybe’ and ‘I Really Like You’, 2015 album ‘Emotion’ demonstrated a new side to Jepsen which resulted in the album’s critical acclaim.

NEW BAND OF THE YEAR:

Nothing But Thieves

Nothing But Thieves have seemingly sprung from no-where this year with singles ‘Itch’, ‘Trip-Switch’ and ‘Wake Up Call’ all receiving extensive airplay on radio. Their self-titled début album is haunting, eerie and bold, resembling some of Jeff Buckley’s best work.

NEW ARTIST OF THE YEAR:

Shura

Shura has risen to prominence in the last year with huge hit, the Janet Jackson circa 1986 influenced ‘2Shy’ in addition to catchy dance hit ‘White Light’ and the gentle analog driven ‘Touch’. With her highly anticipated début album due in 2016, we are expecting big things from Shura.

UP & COMING ARTIST OF THE YEAR:

The Japanese House

Amber Bain, better known as The Japanese House has won the admiration of many this year with her spaced-out and hazy material. Aided by The 1975’s Matt Healy & George Daniel in production, The Japanese House’s two EPs have been cinematic, bold and impressive.

ONE TO WATCH:

Troye Sivan

YouTuber Troye Sivan already had a huge profile before entering the music industry this year. Debut album ‘Blue Neighbourhood’ has been critically acclaimed for its bold and unique sound and sincere lyrical themes.

LIVE ACT OF THE YEAR:

Take That

Take That proved they’ve still got it in a series of triumphant sold-out shoes in various arenas over the UK this year. Featuring a large ensemble of dancers, an abundance of multi-coloured confetti, walls of flame and a flying bike, 2015’s tour proved to be their best yet.

https://www.youtube.com/watch?v=Jmk1gMfYsEI

TOP 10 SINGLE RELEASES OF 2015

THE LONG LIST: RADIO 1 LIVE LOUNGE COVERS OF THE YEAR

  • Ella Henderson – Hold Back The River [James Bay Cover]

  • Frances – What Do You Mean [Justin Bieber Cover]

  • George Ezra – I Try [Macy Gray Cover]

  • Imagine Dragons – Blank Space [Taylor Swift Cover]

  • James Bay – FourFiveSeconds [Rihanna, Kanye West & Paul McCartney Cover]

  • James Bay – Your Love Keeps Lifting Me Higher & Higher [Jackie Wilson Cover]

  • Little Mix – Dance With Somebody [Jason Derulo & Whitney Houston Cover]

  • Mark Ronson – The Giver [Duke Dumont Cover]

  • Nothing But Thieves – Wings [Birdy Cover]

  • Rixton – Where are U Now [Justin Bieber, Skrillex & Diplo Cover]

  • Sam Smith & Disclosure – Hotline Bling [Drake Cover]

THE LONG LIST: ALBUMS OF THE YEAR:

THE LONG LIST: ALBUM TRACKS OF THE YEAR:

  • Adele: When We Were Young, Water Under the Bridge, Love in the Dark, Million Years Ago
  • Ben Haenow: Testify
  • Carly Rae Jepsen: All That, Emotion, Let’s Get Lost, Boy Problems
  • Circa Waves: Deserve This, Good For Me, Stuck in My Teeth,
  • Coldplay: Up & Up, Kaleidoscope
  • Ellie Goulding: Codes, Something in the Way You Move.
  • James Bay: If You Ever Want to be in Love, Scars, Need The Sun To Break
  • James Morrison: Stay Like This
  • Janet Jackson: Broken Hearts Heal, Great Forever, Take Me Away, Shoulda Known Better
  • Justin Bieber: I’ll Show You, Company, No Pressure
  • Markus Feehily: Back To Yours, Love Me Or Leave Me, Only You
  • Matthew Morrison & Laura Michelle Kelly: What You Mean to Me
  • Noel Gallagher’s High Flying Birds: The Right Stuff
  • Nothing But Thieves: Graveyard Whistling, Honey Whiskey, If I Get High, Lover Please Stay.
  • One Direction: Hey Angel, Love You Goodbye, Long Way Down, Olivia, What A Feeling, I Want to Write…
  • Seal: Love, Padded Cell
  • Tame Impala: Yes I’m Changing
  • Take That: Bird in Your Hand, Will You Be There For Me
  • The 1975: Ugh!, Somebody Else (Live)
  • The Weeknd: Tell Your Friends, Shameless, As You Are
  • Troye Sivan: Youth, Heaven, Fools, Ease
  • Wolf Alice: Your Loves Whore, Swallowtail
  • Years and Years: Memo, Eyes Shut, Ties

THE LONG LIST: SONGS OF THE YEAR:

  • Aqualung ft Lianna La Havas: Eggshells
  • Babyface: We’ve Got Love
  • Birdy & Rhodes: Let It All Go
  • Blonde ft Alex Newell: All Cried Out
  • Carly Rae Jepson: I really like you, Run Away With Me
  • Circa Waves: Fossils, My Love, T-Shirt Weather
  • Coldplay: Adventure of a Lifetime
  • Dimitri Vegas, Like Mike & NeYo: Higher Place
  • Drake: Hotline Bling
  • Ellie Goulding: Army, Love Me Like You Do
  • Fleur East: Sax
  • Flo Rida & Robin Thicke: I Don’t Like It, I Love it
  • Frances: Grow, When It Comes to Us (with Ritual)
  • Galantis:  Peanut Butter Jelly
  • George Ezra: Barcelona
  • Grimes & Bleaches: Entropy
  • James Morrison: Demons
  • Jess Glynne: Hold My Hand
  • Justin Bieber: What Do You Mean?, Where are U Now? (ft Skrillex & Diplo)
  • Iggy Azalea & Jennifer Hudson: Trouble
  • Joe Stone & Montell Jordan: The Party (This is how we do)
  • Lianne La Havas: Unstoppable
  • Little Mix: Black Magic
  • Major Lazer, DJ Snake and MO: Lean on
  • Markus Feehily: Love is a Drug
  • Maroon 5: Sugar
  • Miguel: Coffee
  • Nathan Sykes: Kiss Me Quick
  • Nick Jonas: Jealous, Levels.
  • Nicki Minaj: The Night is Still Young
  • Nothing But Thieves: Trip Switch, Wake Up Call
  • Olly Murs: Beautiful to Me, Kiss Me
  • OMI: Cheerleader
  • Philip George: Wish You Were Mine
  • Rita Ora and Chris Brown: Body On Me
  • Rixton: We All Want The Same Thing
  • Ryan O’Shaughnessy: Fingertips
  • Sam Smith: Lay Me Down
  • Seal: Every Time I’m With You
  • Selena Gomez & A$AP Rocky: Good For You
  • Shura: 2Shy, Love for That (with Mura Masa) White Light.
  • Sigala: Easy Love
  • Snakehips, Tinashe & Chance The Rapper: All My Friends
  • Tame Impala: Cause I’m a Man
  • Take That: Higher than Higher, Let in the Sun
  • Taylor Swift: Style, Wildest Dreams
  • The 1975: Love Me
  • The Japanese House: Cool Blue, Still
  • The Weeknd: I Can’t Feel My Face
  • Tinie Tempah & Jess Glynne:  No Letting Go
  • Tori Kelly: Should’ve Been Us
  • Tove Lo: Moments, Talking Body
  • Troye Sivan: Wild
  • Usher: I Don’t Mind
  • Walk The Moon: Shut up & Dance
  • Wretch 32 ft Anne Marie and PRGRSHN: Alright With Me
  • WSTRN: In2
  • Wolf Alice: Bros, Freazy
  • Years & Years: King
  • Zayn Malik/One Direction: I won’t Mind

Christmas Crackers – Day 31

Happy New Year!

This is the final entry of Christmas Crackers. We hope you’ve enjoyed following this throughout December 🙂

1) Dina Carroll – The Perfect Year

2) Sugababes – New Year

 3) Rod Stewart – Auld Lang Syne

 

Check back everyday this month for more festive hits!

Take That – III (2015 Edition) Album Review

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Upon its original release in December last year, ‘III’ was a pivotal moment in Take That’s career. Now a three-piece following the shock departure of Jason Orange and Robbie Williams returning to his solo career, the band and general public were somewhat apprehensive of the band’s future. They needn’t have worried. ‘III’ flew straight into Number One, breaking the record for the most pre-ordered album in Amazon’s history and was later certified platinum. A sold out UK arena tour followed and Take That validated their persistent presence as one of the UK’s most successful bands.

Almost one year later, ‘III’ is still as bold and buoyant as it was upon release. ‘These Days’ remains a piece of pop perfection with its Nile Rodgers Chic-like guitar riffs, disco stomping percussion and tight harmonies. 2015 addition ‘Hey Boy’ follows the same formula, mirroring camp 80’s disco. Lyrically, it’s rather lazy in comparison to the rest of the album and Owen’s rap-like vocals are questionable but the track is incessantly funky,  glimmering with Greg Kurstin’s polished production. Kurstin also steers the ship on other golden pop moments on the album. ‘If You Want It’ is a sleek pop track featuring gorgeous shimmering synths, euphonious layers of harmony and a kick-ass beat whilst the poignant ‘Freeze’ mourns the departure of Jason Orange through a dramatic ’80’s synth-pop track.

‘Progress’ producer Stuart Price returns on the more electro moments. ‘Let in the Sun’, one of the album’s highlights, is reminiscent of material by the likes of Calvin Harris; an EDM influenced track featuring gorgeous moments of falsetto by Barlow, rousing lyrics and an energised chorus. Lead vocal duties are generously handed to Owen on ‘Lovelife’, an effervescent electro track with a Parisian-sounding melody, acoustic guitar strums and stomping percussion. ‘Into The Wild’ is a dramatic and powerful track on which Take That channel The Killers, featuring eerie electro sounds, tribal drums and Owen’s distinctive bass vocals. A bizarre union of ‘Shine’ and ‘Underground Machine’ is found on ‘I Like It’, a bouncy and mechanical track which features synthesised bass, funky guitar riffs, Bee-Gee-like falsetto harmonies and as many production effects as Price can possibly toss into the mix.

Price knows how to induce softer moments in the album too. ‘Portrait’ begins tentatively with Barlow’s falseto fluttering over gentle guitar strums and timorous synthesisers before before Donald and Owen join the fold in a catchy Barber-shop-styled ‘ba ba ba ba ba ba ba ba’ chorus. The lush layers of harmony and giggling synthesisers are a lovely touch in Price’s production and it’s a gorgeous, uplifting track. Howard Donald lends his lead vocal to ‘Give You My Love’, a mellow pop track which is reminiscent of Barlow’s keyboard frolicking on 1993’s ‘Everything Changes’.

John Shanks, producer of the band’s ‘Beautiful World’ and ‘The Circus’ albums brings a more organic sound to the album. ‘Flaws’ is a raw, classic Barlow-ballad which sounds as if it could have been an outtake from Barlow’s ‘Since I Saw You Last’ solo album. It’s a welcome break from the intensity of the album and a lovely track. Original album finale ‘Get Ready For It’ is a euphoric pop-rock stadium anthem abundant with ‘woah’ hooks, crashing percussion and fierce guitar strums. Shanks is also responsible for producing the bonus tracks: invigorating anthem ‘Believe’, Beatles-esque ‘Amazing’ and the spectacular power ballad ‘Do It all For Love’.

Elsewhere, Take That allow lesser-known producers to experiment with their sound. In-demand but still largely unknown producers Mattman and Robin sprinkle their magic on conventional Take That ballad ‘Higher than Higher’, another of ‘III’s’ highlights. Precarious percussion, a mesh of broken vocals and jittery synthesisers open the track before it stabilizes into a steady marching beat. Barlow delivers perfect, tender vocals whilst Donald and Owen provide gorgeous harmonies which reverberate endlessly into the spaced-out, meticulously programmed R&B track. Their ‘higher, higher than higher’ harmonies in the track’s finale somewhat bizarrely emulate an African choir but is one of many lovely touches in its arrangement and production.

Profound power-ballad ‘Will You Be There for Me?’ is comprised of descending percussion, soft plucked acoustic guitars and lavish layers of harmony. Produced by unknown producers AFSHeeN and Josh Cumbee alongside German hitmaker Toby Gad, it’s a moody R&B styled ballad with a brilliant vocal performance by Barlow. It’s yet another change in sound for Take That but one which works perfectly and is without a doubt the best of the new tracks from the 2015 edition.

WTNSS, a duo consisting of Charlie Russell and Bradley Spence, lend their production expertise to final two tracks ‘Carry Me Home’ and ‘Bird in Your Hand’. Evidently Owen’s choice of producers (the duo worked on his 2013 ‘The Art of Doing Nothing’ solo album), they bring another dimension to the album. ‘Carry Me Home’ is a folk-styled pop track featuring tribal drums in the same vein as ‘Into The Wild’, metallic guitars and an epic chorus. Once again, harmonies are diligently layered to great effect and Owen’s distinctive falsetto vocals are particularly lovely. Final track ‘Bird in Your Hand’ is a delicate piano-synth ballad on which the band’s vocals reverberate infinitely. It’s a gorgeous song which mirrors hidden Progress track ‘Flowerbed’. The track is noteworthy for featuring the song-writing credit of the late Michael C. Corson, husband of a Thatter. His lyrics found their way to team Take That and elements were used in the final product.

‘III’ has maintained its ability to impress. Whilst the new tracks don’t necessarily contain the sturdiness required to be single-release material, they are a hugely enjoyable addition to the album.

A triumphant album featuring an eclectic amalgamation of material.

  • Rating: 5/5 [Both original album and 2015 updated version.]
  • Highlights: These Days, Let in the Sun, Portrait, Higher than Higher, Freeze, Flaws, Do it all for Love, Will You Be There For Me, Bird in Your Hand.

‘III (2015 Edition)’ is available now on Polydor Records.

[You can read my original review of ‘III’ here.]

 

 

 

 

Take That Live 2015 – Review

Picture courtesy of Capital FM.
Picture courtesy of Capital FM.

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.
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.

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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.
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.

Rating: 5/5.

Take That Live 2015 – My Experience

On 8th June 2015, after minimal sleep, I hopped on board a rather early train from Brighton to London to see my favourite band live at the O2 arena. It had been four long years since I last saw Take That, then a five-piece and performing to a sold-out Wembley Stadium, on their Progress tour. Evidently much has changed since then. Despite minor apprehension due to the inescapable fact that my second favourite member Jason Orange would not be onstage and sleep deprivation, I was exceptionally excited.

Much had changed for me too since 2011’s Progress Tour. Last time I had seen the boys, I was sixteen years old, had just finished sitting my GCSE’s, attended the tour with a friend I’m no longer in touch with and was positioned towards the back of Wembley Stadium. Four years on, I am now an adult (eek!) and a university student. I had a great time at Progress Live but being so far away, I spent most of it in envy of those standing close to the stage, particularly when the guys went and said goodbye to audience members during ‘Eight Letters’. I also spent far too much of the show absorbed in taking photos and videos and not being in the moment. Unfortunately, we were also surrounded by utter fools. Nobody stood until Rob came on, the family in front kept looking at each other in horror every time Rob swore (I know, they evidently weren’t familiar with Rob’s stage persona…), I got a dirty look for practically hyperventilating when the boys came onstage, the couple next to us spent 90% of the concert snogging and those behind appeared to just be there for a day out. So when it came to seeing Take That on their next tour, I vowed to do things completely differently. And that, I did.

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I purchased the hat in self-parody of myself and to stand out… Bizarrely, I think I managed to pull it off!

For this tour, I decided to go with full-on, die-hard Thatters like myself. I am lucky enough to have many friends who also love Take That but not quite to the same level as me. So this time I went with Kim & Andy – two of my favourite people on Twitter, two amazing friends and two people with a mutual appreciation of the boys. It was my first time going with Thatters and I plan to continue to do so in future! Eight hours of queueing passed amazingly quickly with them both aided by multiple trips to the toilet, to see other friends, purchasing tea and buying merchandise. The second difference this time was that for the first time I was not going to be high up in the venue. I was not going to be at the back. I was not going to be surrounded by people merely at the show for a night out. I was going to be standing. And not only standing but in the front pit! FINALLY! I’d always been apprehensive about doing so before, mainly because of being an Olympic worrier fearing needing the loo or not having enough water or feeling rammed in by everybody. But after my experience at Progress I craved to be around other Thatters – people who are actually familiar with all songs, lyrics and share my levels of excitement. Plus as we all had quite a shock with Jason’s departure, I learnt to take nothing for granted when it comes to Take That and vowed to experience the tour from as close as possible to the stage. I’ve never met any of the boys so to be in the pits and be so close to them was a dream come true.

Come 6:15pm and we were lined up like cattle by the turnstiles. There’d been around fifty people queueing in front of us so we had no idea how close we’d be able to get to the stage but remained optimistic, overall. Thankfully, the system was fair and nobody felt the need to sprint into the arena. We were let in in order and we managed to get three rows from the front! I was utterly mesmerised. To go from being towards the back of Wembley Stadium to three rows away from the stage in the O2 Arena was a dream come true.

Ella Henderson was an incredible support act. Take That’s choice of support act is always spot on and I’ve seen some amazing artists over the years – Beverley Knight, Gary Go and Lady Gaga, just to name a few. Despite liking the The Pet Shop Boys’ material, I was utterly bored throughout their set opening the Progress tour. Ella, on the other hand, bought class, sophistication and fun to the O2 Arena. Despite being familiar with many songs from her album, I wasn’t exactly able to sing along much but still had an awesome time and her thirty-five minute set whizzed by. I wore my tacky fluorescent yellow hat for her set which appeared to get her attention! I shared a couple of little moments with her where she smiled at me, particularly during my favourite of hers, ‘Rockets’ which no-one else knew but I was able to sing along to. Her voice is absolutely incredible and I wish her all the success in the world, I really do. I’m so glad she’s already had a number one single and album. She truly deserves it.

20150606_213537editedAnother difference for this tour is I had managed to avoid most spoilers (aside from the practically unavoidable pictures of the bike!) I muted lots of people on Twitter and any time I saw anything related to the tour, I would quickly scroll past. It was so, so tricky staying away from the setlist but I am SO glad I did. Even just one look at the set-list to a show will remain engrained in my memory. The problem with this is that I will then spend the concert thinking about what’s happening next so it was utterly refreshing to go to the show and know barely a thing about it! It turned out I knew most of the setlist through people spoiling online and my own guess work but wasn’t sure of the order and forgot lots of songs so it all worked out nicely as one big surprise!

I’ll save a lot of my comment on the show itself for a review I am planning (this post is just to discuss my personal experience more than anything) but will mention a few things from a fan-boy perspective (not a professional, like I aim for the tone of my review to be!). The fifteen minute introduction absolutely blew me away. Take That have a knack for absolutely incredible tour openers, both visually and musically. I loved the music that opened the show and the way the boys came onto the stage. The set-list was fantastic, particularly the emphasis on songs from the TT4 era. It was perfect to have so many songs from The Circus album. The balance between front-stage and b-stage was also wonderful as pretty much the whole arena was catered for nicely.

20150606_205437editedThe whole show was absolutely incredible but some parts were made even more so by being in the pits. Being in the left pit, just three rows from the stage, we got SO much Markie action! I love how he performs on a more intimate level, interacting with the nearby crowd. He sung to and smiled at so many people around me and I’m pretty sure he smiled and winked at me. It also meant we got to witness the ‘Flaws’ shirt lift rather close which was greatly appreciated by many 😉

The flames during ‘Get Ready For It’ were scorching but you certainly felt the full atmosphere being so close! I was also finally able to bounce properly to ‘Hold Up A Light’ (it doesn’t have the same effect when you’re in seats!). Being in the pits for the confetti explosion during ‘Greatest Day’ is also incredible, although trying not to ingest it was very tricky! I’m still leaving a trail of confetti around the house from my pockets, wallet, phone case etc (much to my mother’s annoyance…) Also, can we just discuss ‘The Garden’ for a moment?! It must have looked spectacular to anyone outside of the pit but for us inside, it was mesmerising. Having those huge curtains drawn around us made us feel completely cut off from the rest of the arena, like it was just Take That and us. It also provided some much needed cool air after the intensity of heat from the flames in ‘Get Ready For It’! It was incredible to watch the puppet show from inside the sheet-dome. Furthermore, being underneath Mark’s cape/costume during ‘Shine’ took me right back to Primary School parachute games! Looking around during ‘Rule The World’ and seeing all of the lights also blew me away, as did looking at all the arms in the air during ‘Never Forget’.

20150606_213904editedI don’t think it’s been a secret that I’ve found 2015 a challenge so far and happy days have been very few so far this year. Take That have been such a strong source of light for me (I know it’s cheesy but it’s true) and the ‘III’ era has been without a doubt the most important Take That era to me. I am feeling a lot better now but that day and evening was the most beautiful, amazing and happy day I have had this year. So much so, I decided right away that I had to book more tickets and go again! I know twice isn’t anywhere near as many times as most Thatters but it ended up being enough for me. I could just about afford it and wanted to experience it again and am so glad I did. I’ve thankfully managed to avoid the post-tour blues since seeing them for a second time and I think it’s out of my system now! Don’t get me wrong, if money was no object, I’d go and see the boys numerous times but at the same time I think going excessively would probably make it lose some of its magic. I had two AMAZING days/nights and feel satisfied now! My second date was just as spell-bounding as my first except we were able to get right next to the walk-way between main stage and b-stage. We were a little concerned about a mob of drunken people behind us but thankfully they were tamed by Take That’s arrival onstage and were relatively well-behaved for the rest of the show. I wasn’t feeling very optimistic about touching the boys because of the swarm of drunks that had closed in but Alice and I managed to barge our way through and we were able to touch them!! I cupped Gary Barlow’s upper arm (I can confirm it is rock solid -pure muscle), touched Howard Donald’s sweaty arm and Mark’s jacket! A dream come true for someone who has never ever been that close to them before.

Seeing Take That has without a doubt been my favourite part of 2015 so far and I cannot put into words how much I value their existence. I had so much fun both times and am so grateful I got to go twice. I’d also go as far to say the boys managed to surpass ‘Progress’ with this tour. It was absolutely incredible and I am so glad they have stayed together and proved all of the critics wrong.

S Club 7 Bring it all Back Tour Live – Review

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Back in their hey day

There was a lot riding on S Club 7’s 2015 Bring it all Back reunion tour. A rather rusty and slack performance on Children in Need last year left the public all rather apprehensive on the reunion of the spectacular seven. “Can Jo no longer sing?” “I’m not sure Paul can get down on the floor anymore.” “Do they not have a stylist?” You get the drift. Still, there was an air of excitement and a consistent buzz on social media for weeks in the aftermath of S Club 7’s first performance as  a seven-piece in twelve long years. Since their break up in 2003, S Club 7 have long been affiliated with nostalgia. They were an integral part of many’s childhoods, more so than anything could be to children today. They had their own TV show(s), documentaries, albums, tours etc. They were huge. And rightly so. What they lacked in credibility they made up for in fun. Every song was a hit (usually co-written by pop genius Cathy Dennis) and guaranteed to leave a huge smile on your face (except the ballads which could admittedly result in the odd tear…) S Club 7 were all that was good about the 90’s and noughties. They were the soundtrack to people’s childhoods, a pure reflection of joy and elation. No wonder, then, that demand to see them was so high for their reunion tour.

Fans needn’t have been worried about that Children in Need performance. It was evident that much hard work and intense rehearsals had taken place prior to the tour. Dance routines were slick and polished, harmonies were tight (admittedly aided by a little pre-recorded playback) and most importantly lead-singer Jo O’Meara has DEFINITELY still got it. Critics were quick to comment upon her shaky and flat vocal performance during the CIN extravaganza which O’Meara dismissed as nerves. Over the course of the tour, she more than proved she’s still got her powerhouse vocal, the backbone of all S Club 7 recordings.

The show opened with pulsing techno beats, more smoke than a sauna and six dancers in fluorescent clothing ostentatiously bouncing around the stage. “This is not a drill”, an assertive voice resonated into each corner of the 02 arena. A countdown from seven to zero with clips of the S Club 7 from their heyday climaxed with each member rising one by one from the inner depths of the stage. “7” album track “Bring the House Down” was a brave choice to begin a reunion concert with, considering it was never a single release but it was a wise choice. A common favourite of fans with tonnes of energy, it truly got the party in swing. From then on in, the group powered through their hits with more gusto than an 80’s workout video, sending the audience wild. Aside from minor weight gain and a few wrinkles, it was like no time had passed. Tina still did her thing, Jon is still looking for romance, Paul could just about get down on the floor, okay, you get it. “S Club Party” sent a rapture through the entire arena whilst “You’re My Number One’ had a slight musical makeover which dragged it from the 90’s more into euro-pop territory. “Love Ain’t Gonna Wait for You” was accompanied by a highly polished dance routine which went down a treat.

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[Photo from Digital Spy].
Unfortunately, the show dangerously lost its focus for a while. Each member performed a solo number, an unnecessary move that to many, was an excuse to nip to the bar or have a quick loo break. Tina Barrett’s performance of ‘Stronger’ (an S Club 7 album track from ‘Sunshine’) would have been fine if she had been accompanied by the other six members. Hanna Spearitt lip-synched her way through Paula Abdul’s 1988 hit ‘Straight Up’ whilst Bradley McIntosh ‘DJ’ed’ a mixture of throwback S Club songs. They were far from bad performances, just rather baffling to fans. Other solos were more successful however. Paul Cattermole’s solo version of ‘Reach’ in which he accompanied himself with an acoustic guitar, began slightly apprehensively but soon won fans over and was a beautiful moment in the show. Jon Lee and Jo O’Meara, by far the strongest vocally in the group, performed old S Club 7 b-side ‘Hello Friend’. Their fantastic and incredibly underrated vocal abilities were really showcased and their voices blended effortlessly with each other. Rachel Stevens performed a mash-up of two of her massive solo hits – ‘Some Girls’ and ‘Sweet dreams my LA ex’, again, a welcome addition to the show. It does feel a little like the inclusion of all other members’ solos were squeezed in to justify Stevens’ solo segment, however. It’s most likely most S Club 7 fans would rather them have been replaced with other S Club material. There was a missed opportunity to perform “Show Me Your Colours”, an album track from ‘Sunshine’ and firm fan favourite. Even more disappointing when Stevens (soloist on the track) informed a fan it was originally on the setlist. Other material such as ‘Friday Night’, ‘Best Friend’, ‘Sunshine’, ‘Summertime Feeling’, ‘Let Me Sleep’ and ‘Gangsta Love’, the list of potential successes goes on.

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The white costumes are out which can only mean one song… Never Had a Dream Come True! [Fan photo from Twitter].
That said, the solos are hardly worth of a complaint. The hits were all there and the running order worked well too. Fans went wild for biggest hits ‘S Club Party’, ‘Reach’, ‘Don’t Stop Movin’ and ‘Bring it all back’ and each of these songs were performed with as much energy and charisma as the first time around.  The ballads were some of the finest moments of the show, however. Of course, these too were more saccharine than a tub of Ben & Jerry’s ice cream but it’s easy to forget quite how beautiful they were. “Two in a Million” has to be one of the greatest and most underrated cheesy-pop love songs ever. “Say Goodbye” only served as a painful reminder to the group’s break up and was surprisingly rather poignant, resulting in the group standing on-stage to regain their composure and take-in the atmosphere for a couple of minutes before ploughing on. “Have You Ever”, easily one of the group’s best songs in their catalogue was a stunning moment in the show where O’Meara really showcased her incredible voice and the group’s harmonies formed a gorgeous wall of sound. “Never Had a Dream Come True”, the penultimate song, was also gorgeous but was gladly followed by the more up-tempo and less intense “Don’t Stop Movin’ to close the show.

Perhaps the most refreshing element of the show was the group’s genuine appreciation to be there. Of course, money is always a significant factor in groups reforming but with S Club 7, it was evident that they were overwhelmed by the response of their ever-loyal fans and were having a whale of a time onstage. This created an even more vibrant energy and atmosphere. There was also a much-valued acknowledgement of the fact their fanbase are all adults now, demonstrated in each member’s statement in the tour programme and enjoyable cover of ‘Uptown Funk’.

The only real fault in the show aside from the bizarre solos was the lack of a live band. Considering their past shows always featured a live band to accompany them, it felt a bit slap-dash, a bit Eurovision/X Factor, a shame when the production in general was so well constructed. Despite this, the show provided an evening of nostalgia, a time capsule back to the late 90’s where all of us twenty-somethings could become primary school children again. And if that doesn’t brighten up your life for just a moment or two, nothing will.

Rating: 4/5.

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The last date of the tour involved the other six band members joining Paul onstage for his acoustic rendition of ‘Reach’. [Image from entasia.net].

Simply Red – Big Love Album Review

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It’s been five years since Mick Hucknall disbanded Simply Red following an extensive farewell tour and greatest hits album. Fans were under the impression that this was the last we’d see of Simply Red as Hucknall expressed a desire to spend more time with his family and release material under his own name. But now, Simply Red have returned with an album and tour to celebrate thirty years since their formation.

It was always rather peculiar, Hucknall’s decision to continue recording music under his own name rather than the Simply Red label. Simply Red, after-all, is Mick Hucknall. The band is well-known for its revolving-door policy regarding band members; there has not been an original member (aside from Hucknall of course) in the band since 1995’s ‘Life’ album. This appears to have finally dawned upon Hucknall and the band’s 30th anniversary has seen him go to great lengths to celebrate the band’s long and hugely successful career.

And “Big Love” is just that. A celebration. A celebration of love and life. It’s a concept album relating to family and love which is part of its overall success. It’s an optimistic, uplifting album; a real joy to listen to. It’s obvious Hucknall has seen a surge in creativity and inspiration for this album; it’s the first album of all original material since 1995’s ‘Life’ album. Family life has evidently tamed the former wild sex-crazed front-man.

The album utilises up-tempo, catchy tracks to maintain its pace. Lead single “Shine On” is a big, fun track with funk-driven guitars and punchy percussion – a true reflection of the album as a whole. “Daydreaming” is a catchy ’70’s disco-infused number on which Hucknall’s glossy vocals really shine whilst the album ventures into a soft rather bizarre rock ‘n’ roll-gospel infusion on “Tight Tones”.

Elsewhere, “Big Love” demonstrates Hucknall’s softer side. The title track is a schmaltz-y affair, with a sweeping melody, gentle vocals and fairground piano arpeggios. “Dad” is a syrupy sweet ballad about… yes, you’ve got it, Hucknall’s father. It’s rather saccharine, with a lovely message but the lyrics themselves are a little bit ‘teen’ with some lazy rhymes. Nevertheless, it’s a poignant addition to the album following the loss of his father during Simply Red’s absence. The album also makes use of previously successful formulas for the band. There’s a throwback to ‘Night Nurse’ on ‘Love Wonders’ with its reggae-styled beat, sweeping strings and Hucknall’s butterscotch vocals. There’s also a nod back to 2003’s ‘Home’ album on ‘Love Gave Me More’ with its tinkling piano and 60’s sweeping strings.

From time to time, hitting notes requires some strain from Hucknall and it’s evident his wild past has caught up with him slightly. Nevertheless he has always had one of the most powerful voices in the industry, soft and syrupy for the ballads, a growling rasp for more uptempo songs and an incredible vocal range that would make most of today’s acts envious.

Whilst it may lack the polished finish of 2003’s ‘Home’ and the power of 1991’s ‘Stars’, it is far from a bad album. It seems Hucknall has got his mojo back. I for one hope it stays.

Rating: 3/5.

“Big Love” is available now on East West Records.