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.

Why Jason Orange is greatly missed.

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I meant to write this blog long ago but as usual, life got in the way and it never happened. Better late than never, here’s my blog on Jason Orange leaving Take That.

24 September 2014:

It was to become another day of immense sadness for Thatters worldwide, an addition to the previous dark days on which Robbie Williams announced his departure in 1995 and Take That announced their disbandment in 1996. Jason Orange dropped the unforeseen bombshell that he was leaving Take That.

01xt8-vi2The response was quite astonishing considering we are now twenty-five years into Take That’s career and there are arguably fresher-faced more ‘current’ bands around. Take That’s relevance was reinforced once again. It became front page news, splashed all over tabloid newspapers and was a hot topic on the internet for days. Deluded Twitter trolls, convinced they are comedians were quick to provide much ‘banter’ and opinion over the situation, “Take That will never sound the same again” is just one noteworthy example. Other posts were critical of Orange’s role in the band whilst some suggested the band give up altogether. Of course, as the last few months have proved, the continuation of Take That as a three-piece has been wonderfully successful with many records broken and a killer album released. Yet, even throughout their many wonderful performances, Orange’s absence has been more noticeable than anyone could ever think possible.

Upon Take That’s formation, Jason Orange was selected by manager Nigel Martin Smith for his dance ability and he was bloody brilliant at it. Even the harshest critic would not be able to undermine Jason Orange’s dance ability. He was able to choreograph fantastic routines, glide across the floor effortlessly and he continued this well into Take That’s second life as a band. Even as a 41 year old, he youthfully breakdanced on 2011’s ‘Progress Live’ tour, which was to become his final tour with the band.

093-viPart of Take That’s appeal back in the ’90’s was the range of talent and personalities in the band. Jason and Howard were incredible dancers, Mark was the boy next door, Robbie was the cheeky lad and Gary had the genuine vocal talent. Of course, all talents crossed over – Take That’s success was built upon every member’s ability to be an individual, to sing and to dance. It was five guys from Manchester, all of which had wonderful individual talents which, when put together, made Britain’s best loved boyband. When Take That re-formed as a four piece in 2005, the focus became more on the music and the public was shown that Take That were able to function well as not just a generic boyband but as a band. Harmonies became cleaner, instruments were bought out on stage more and Jason was finally given lead vocal duties, breaking him in gently with the stunning folk ballad ‘Wooden Boat’, the final track to 2006’s ‘Beautiful World’ album.

Jay wooden boat 2Jason Orange proved he could sing. ‘Wooden Boat’ was a sweet, gorgeous folk-ballad which closed the ‘Beautiful World’ perfectly. ‘How Did it Come to This’, his next lead vocal from 2008’s ‘The Circus’ was a rock foot-stamper, highlighting his ability to sing across multiple genres. His final lead vocal was to be the gorgeous ambient ‘Flowerbed’, an underrated hidden track on 2010’s ‘Progress’. In fact, it is Jason who sang lead vocals on some of Take That’s best-loved material. He was also bloody brave! On 2007’s ‘Beautiful World’ tour, his bandmates left him alone on-stage with an acoustic guitar to sing ‘Wooden Boat’, accompanied only fellow guitarist Milton McDonald and a small string section which was warmly received by fans and critics alike.

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It was Jay’s fantastic stage presence which became an integral part of Take That’s strong, visionary performances. This was often centred around his sense of humour – he would often move in comedic fashion, particularly when sprinting to the B-Stage in Take That shows. He also has a wonderful element of charm about him which came through not only in interviews but also during performances. He famously drew attention to himself during the 2012 Olympics Closing Ceremony which some suggested may have been to take attention away from Gary Barlow whose baby daughter had been delivered stillborn just days earlier. It’s this charm and cheek that’s now missed dearly in Take That. Performances are still fun but there is certainly something missing. And that something is definitely anything associated with Mr Jason Orange.

And it’s not just the singing and dancing. It’s also the personality. The humour, the charm, the wisdom. Jay clearly spent a lot of his ten years off thinking about everything and this really showed in any interviews he was a part of, particularly ‘For The Record’ and ‘Look Back Don’t Stare’ in which he thoughtfully discussed his time in Take That.

3125c03a769136e00ea9ea4a1425c667Whilst obviously very grateful for the privileges he had earned, Jason always appeared to be uncomfortable with fame and his celebrity image. Any downtime away from the band was spent in anonymity, only being photographed very occasionally in everyday places doing mundane activities (he was once photographed sitting casually on a bench) and most often unshaven with
scraggly hair. His avoidance of Twitter or any social networking sites only facilitated in making him a more endearing character. His perception of fame and modest attitude could only be admired. Upon being asked by Piers Morgan, ‘If you could go back to the anonymity you enjoyed before Take That ever began, would you take it?’ He responded unhesitatingly with ‘I would. Fame corrupts people’s lives.’  It was this lack of egocentrism and profound outlook that made Jason Orange so well loved as a band member. Despite being remarkably grounded for a man in his position, he had a jokey alter-ego as a full-of-himself cheeky-chappy, once announcing in an interview “Mate, I was famous before I was famous”. He could also be rather filthy. Who can forget his steamy shower scenes with a mystery female in the music video for ‘Relight My Fire’?! In another interview laden with innuendo, he advised “If you sit down on your left arm for long enough, it feels like someone else!” His fantastic sense of humour really bought Take That interviews alive.

Take That have done a sterling job at adapting to their many line-up changes and continuing their success as a band. Their determination and continued success is certainly to be admired and I am so very grateful they still exist as both a brand and a band. Performances are still spectacular and lively but it’s clear that a presence is missing. That presence is Jason Orange. It’s just a shame that seemingly, his only way of proving his worth to critics was through leaving.

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It’s the little things I miss. Him losing himself in every performance – the Donage bromance with Howard Donald, his comical running to the b-stage, the on-stage flirting with dancers, his wit and profound outlook in interviews, his sweet vocals and the breakdancing. Maybe one day he will return, even for the smallest of moments but until then, I hope he’s happy and comfortable with the life he’s living.

We all miss you very much, Jay!

Music Monday – Volume Forty Three

1) Robbie Williams – The Pilot

Catchy number from Rob’s latest album of unreleased material: ‘Under The Radar’. It’s a song more than worthy of being on a commercial album by Rob and possibly even single material. Catchy beat, fierce guitar strums and a great vocal performance from Robbie.

2) Robbie Williams – Love Is You

Beautiful ballad reminiscent of Rob’s work from 2005’s ‘Intensive Care’ album.

3) Robbie Williams – Baby Girl Window

Beautiful ballad that closes Rob’s ‘Life Thru a Lens’ album. I’d never really paid attention to it but after giving it a proper listen recently, I fell in love with it.

4) Take That – Get Ready For It

Powerful closing track to ‘III’ and a great, great song. The single release has added orchestration which makes it even more emotive.

5) Zak Abel – These Are The Days

Catchy, soulful number. Love this.

https://www.youtube.com/watch?v=1BP7XC699Jc

6) Prince – Welcome 2 The Dawn

Gorgeous acoustic based ballad from the late 90’s.

https://www.youtube.com/watch?v=DOMG7R8K8xk

7) Ed Sheeran and John Mayer  – Thinking out loud

Absolutely love Ed and this song anyway but throw one of my favourite artists – John Mayer into the mix and you create utter perfection.

https://www.youtube.com/watch?v=EWZnup4zYEk

8) William Fitzsimmons – Just Not Each Other

Found this artist through a Spotify playlist and fell in love. This is my favourite by him – a beautiful low-key ballad which discusses lost love. Love the final part of it with the layered vocals. Beautiful.

9) William Fitzsimmons – I don’t feel it anymore

Stunning ballad and the song that got me into William Fitzsimmons.

https://www.youtube.com/watch?v=mld3NLHNebw

10) William Fitzsimmons – Fade and then return

Great, rather catchy track by William.

Higher than Higher.

It’s been a while since I last blogged. I’ve found it difficult to find the energy or time to do so recently but believe me, I’ve missed it. I have a bit of spare time at my hands for the next week or so, so I’m hoping to publish some thoughts I’ve had for a while. I really hope you enjoy reading them and I hope to update this more in the future. This blog is about a song that means a lot to me.

Take-That-III-Three-3-album-coverListening to your favourite band’s brand new album in four years was always going to be a special experience. Beingwhisked off on a journey through a brand new set of songs, learning new lyrics and falling deeper in love with them is an indescribable feeling. When Take That released ‘III’, I was impossibly excited alongside many other Thatters. I was familiar with some of the songs already due to hearing them on the radio but others were completely brand new. Even the ones I’d previously heard sounded different, better when hearing them in the context of the album. There’s nothing quite like listening to an album from start to finish, especially for the first time.

‘III’ is one of those albums where every song is euphoric and fantastically written. I was really, really loving my first listen. The first five songs had really taken me up to the clouds and the last one, ‘Portrait’ was already cemented in my collection of favourites. Then on came Track 6, ‘Higher than Higher’ and that changed everything.

1de3f04c0f0ab2dfaa5ecdb04f757258 (1)A lot of what makes the track so perfectly created, for me, is the insane production by little-known American duo Mattman and Robin. It begins all sophisticated and cool; the jittery production in the opening to the song sounds like nothing Take That has ever released before. Gary Barlow’s low vocals then emerge and melt effortlessly into a marching beat and minimal instrumentation. Barlow’s famous tenor range glides through the bridge which launches into a lovely sing-song chorus. A repeated ‘You’re lifting me up’ is scattered throughout the song which echoes endlessly into the commodious production of the track and only serves to make it even more endearing. The acoustic guitar strums are meticulously placed over kicking, programmed drums and the classic Take That harmonies are thrown into the mix to produce a gorgeous and catchy chorus, a quest for happiness. The middle eight allows the song to simmer gently for a few seconds as Barlow’s chocolate vocals re-emerge whilst Mark Owen’s beautiful, resounding ‘Higher than Higher’ refrain slowly crescendos into the climax of the song. The final minute is layered perfectly; Gary Barlow’s lead vocal drizzled over the methodically programmed backing track, Howard Donald’s glimmering backing vocals and Owen’s emulation of an African choir chant of ‘Higher than Higher’. It’s just an absolutely stunning song; one which makes it a welcome addition to Take That’s ballad collection but is given a refreshing twist by Mattman and Robin’s fidgety programming to venture into a brand new sound for the band.

Recently I haven’t been feeling my best and ‘Higher than Higher’ has empowered me to be strong and has been my support mechanism. I listen to it every single day and I’m still not tiring of it. I interpret the term ‘Higher than Higher’ to be about being infinite and limitless in your capabilities whilst the song itself is for anyone or anything that gives you the strength, courage and love to carry on even when things have been dark and difficult. For me, I know who I think of every time I fill my head and heart with this song and I thank those people from the bottom of my heart.

Thank you Take That for writing such an important, beautiful and empowering song.

Music Monday – Volume Forty

1) Sam Smith – Have yourself a Merry Little Christmas

A beautiful song in its own right, this is only made even more magical by the incredible Sam Smith. That acapella introduction is just stunning.

2) Coldplay – Miracles

Great new track from Coldplay.

3) Chris Rea – Driving home for Christmas

One of my favourite Christmas songs of all time. Jazzy, laid back, meaningful, it’s a fantastic song.

https://www.youtube.com/watch?v=czhZbqpyBm8

4) Greg Lake – I believe in Father Christmas

A song that I love more and more every time I hear it. One of the most underrated Christmas songs around.

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

5) Take That – Believe

This keeps growing on me and I really love it! Sounds like something that would have appeared on Mark’s 2013 solo album ‘The Art of Doing Nothing’ but with Take That’s gorgeous harmonies.

https://www.youtube.com/watch?v=ailavvxwlS4

6) Sam Smith – Restart

This was one of my songs of the summer. Catchy and utterly irresistible.

7) The Beach Boys – Little Saint Nick

The harmonies on this track are just amazing. One of the best Christmas songs around.

8) Robbie Williams – Walk This Sleigh

An unconventional Christmas song, performed in a way only possible by Mr Robbie Williams!

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

9) Take That – Freeze

Emotive, with a 1980’s pop sound. Love it.

https://www.youtube.com/watch?v=-IkRFAh7LGo

10) Bruno Mars & Mark Ronson – Uptown Funk

Catchy, fun and everything pop music should be about.

Music Monday – Volume Thirty Nine

1) Take That – Portrait

Incredible, euphoric pop song with a barber shop chorus. Find this quite Christmassy too! Like a Part 2 of ‘Hold Up A Light’ from The Circus album.

[No YouTube Video as of yet]

2) Take That – Higher than higher

Stunning ballad with insane production from the band’s latest album ‘III’. Can’t get enough of this right now.

https://www.youtube.com/watch?v=8zWJs7PHGaA

3) Take That – I like it

A blend between hit ‘Shine’ and Progress’ dark rock track ‘Underground Machine’. Mechanical and catchy.

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

4) Take That – Do it all for love

Haunting closing track to the deluxe version of ‘III’. Builds up into a dramatic power ballad.

[No YouTube video as of yet]

5) Take That – Let in the sun

Dance infused pop track reminiscent of something Calvin Harris would do. Uplifting and euphoric.

6) Alt-J – Left hand free

Something completely endearing about this track. Love the percussion on it – very catchy.

7) Sam Smith – I’ve told you now

News of Sam Smith being nominated for four Grammy’s this week was received exceptionally well by most of the general public. His talent is certainly to be admired – what a voice! Lots of amazing songs on his album but I really love this. Bitter yet soft too. Awesome song.

8) Robbie Williams – Heavy Entertainment Show

Can’t wait to listen to the rest of this album when I receive it! The amazing thing about Robbie Williams is he has a whole stash of amazing songs that haven’t heard seen the light of day yet simply because he’s a perfectionist. If the rest of latest album ‘Under the radar’ (an album of previously unreleased material) is like this, it’s going to be one heck of an album.

9) Matt Kivel – End of adventure

Found this on a random Spotify playlist and fell in love. So chilled out and a lovely little acoustic-based song.

10) Isbells – Dreamer

Another song I found on a random Spotify playlist and I love this! Low-key and a great, great song. Love this!

Take That ‘III’ – Album Review

It’s safe to say 2014 has been an incredible roller-coaster for Take That. Allegations of tax avoidance scams, the loss of a band member, the release of one of the fastest selling albums of all time and Amazon’s most pre-ordered album in history; it’s safe to say it’s been up and down for Britain’s most loved man-band.

This week, it emerged latest single ‘These Days’ had become their twelfth UK Number One single and on Monday, their brand new album – their first as a three piece – ‘III’ was released. An insight into each track is provided below.

1) These Days

A piece of pop perfection, it’s easy to see why this Nile Rodgers/Chic-style track with funky guitar riffs, punchy percussion and tight harmonies has well and truly established itself as one of Take That’s finest records. It’s a song of optimism and it’s irresistibly catchy. Barlow, Donald and Owen’s voices are all audible and fused to provide rich layers of harmonies. A killer opener.

2) Let In the Sun

Take That do Calvin Harris. Except better. It begins gently with Barlow’s rich vocals drizzled with Donald’s falsetto, both melting effortlessly into a symphony of synthesiser before developing into an up-tempo dance track with elements of Take That’s signature sound. If all the synthesisers were removed and the thumping percussion, it could have slotted in perfectly on ‘The Circus’ album with its optimistic lyrics. It never quite takes the plunge into full dance-pop territory, however, there’s definitely some Mumford & Sons in there but it’s still a powerful, feel-good track, a stand-out from ‘III’.

3) If You Want It

A return to Greg Kurstin-infused-pop here and it works beautifully. It’s unmistakeably Take That – catchy, verging on entering cheesy territory and utterly irresistible. In-keeping with all tracks so far, it’s bold, buoyant and a great, great pop track. Tight harmonies too – Howard and Mark’s vocals are both crystal clear and give the track an extra dimension.

4) Lovelife

Barlow generously hands over lead-vocal duties to Mark Owen on this catchy number. Painting the image of a group of Frenchmen performing the track on street corner in Paris with an accordion, it’s a little unconventional and seemingly draws upon European dance-pop music as its foundation. It’s well written and catchy but not quite as congenial as the previous tracks and therefore the album becomes slightly off-kilter with the addition of ‘Lovelife’.

5) Portrait

Stuart Price is back, frolicking with synthesisers and computer-generated sounds again, not dissimilar to much of the material on ‘Progress’. It’s not as intense, however, the first minute or so is gentle and tentative, allowing the listener some much needed rest from the intensity of the first four tracks. Barow’s falsetto flutters over soft guitar strums and timorous synthesisers before Donald and Owen join the fold in the rousing Barber-shop-styled chorus. It is 100% in the same vein as The Circus’ ‘Hold Up A Light’ but with increased vigour. The barber shop refrain is utterly irresistible and the driving drum beat maintains the song’s momentum. Price’s production really glistens on this beautifully created and performed track. Another stand-out moment.

6) Higher Than Higher

The closest to a classic Take That ballad you’re going to get in the first half of ‘III’. Precarious percussion and jittery synthesisers open the track before it stabilizes into a steady marching beat. The song is largely carried by the effortlessly cool and rather insane R&B-styled production provided by little-known American duo Mattman & Robin. Barlow delivers perfect, tender vocals whilst Donald and Owen provide gorgeous harmonies, reverberating into the spaced-out, meticulously programmed percussion. Their repeated ‘higher, higher than higher’ harmonies in the final part of the song somewhat bizarrely but beautifully emulate an African choir. It’s one of many lovely touches which contributes to its success. It’s a song full of meaning, passion and it’s utterly beautiful. Quite possibly one of Take That’s best songs of their career.

7) I Like It

Take That go all Muse once more. It’s a return to the ‘Progress’ era and it’s absolutely bonkers. Imagine an amalgamation of ‘Shine’ and ‘Underground Machine’ and ‘I Like It’ is born. The synthesised bass, minimal instrumentation and buoyant percussion all contribute to the catchiness of the song and just when you think producer Stuart Price has exhausted all technical improvement tools, a mechanical middle-eight kicks in, in which Barlow’s vocals are lowered in pitch to create a robotic voice. A fun piece of pop.

8) Give You My Love

A song that could have easily slotted in on the ‘Everything Changes’ album, Barlow’s clearly been having a whale of a time frolicking around with his keyboards. This is the one time Thatters are able to enjoy Donald on lead vocals, a bizarre move when the loss of two band members surely presents the opportunity for more equal distribution of lead vocal duties. Still, Donald succeeds on this pure and simple fun track.

9) Freeze

Ice-like imagery, proficient production, slamming percussion and Barlow’s falsetto steer this song, resulting in a powerful 80’s-esque song. Likely to be one of a handful ballads written after Orange announced his intention to depart from the band, there is a sincerity in it’s lyrics. Personal, heartfelt and emotive.

10) Into The Wild

A dramatic and explosive moment, with tribal drums, Owen’s distinctive and intense vocals and a sing-song chorus, this is a powerful addition to ‘III’. Barlow, Donald and Owen have clearly taken great pleasure in imitating other bands on this album and ‘Into The Wild’ presents the opportunity for them to be The Killers. It’s an undoubtedly powerful song glimmering with brilliance.

11) Flaws

Ah, finally. A Barlow ballad! The chance of one of these appearing looked slimmer and slimmer by the song but here we are. ‘Flaws’ is a pretty, piano-based ballad which sounds like an out-take from Barlow’s ‘Since I Saw You Last’ album. In an attempt to capture the raw effect, it appears Barlow has positioned himself rather too closely to the microphone, resulting in distortion more than anything else. It’s well-written, although previous Take That ballads are far superior.

12) Get Ready For it

Another dramatic song in the same vein as ‘Freeze’ and ‘Into The Wild’. ‘Get Ready For It’ (rumoured to be the second single) is a pop-rock stomper that closes the standard version of the album perfectly. It’s powerful, euphoric and a complete stadium anthem.

13) Believe

‘Believe’ is an enjoyable piece of pop-rock, reminiscent of the material on Owen’s solo album ‘The Art of Doing Nothing’. It’s an enjoyable song with a big chorus but the boys made the right decision to leave this off the standard edition and put it on the deluxe instead.

14) Amazing

Take That do The Beatles! This couldn’t be any more different stylistically to the rest of the album and therefore it is understandable this has been demoted to a bonus track. It’s a gorgeous song nonetheless and it’s a shame this won’t take pride as a standard edition album track on a pop-rock Take That album. The harmonies are gorgeous, the instrumentation simplistic and the lyrics slushy. It’s unmistakeably Take That and very beautiful it is too.

15) Do it all for Love

A haunting closer to the deluxe version of the album. Mark Owen wails over guitar arpeggios and unmistakable Take That piano chords before the song climaxes into a dramatic power ballad. It’s a powerful, incredibly emotive track with a killer bridge. It’s reminiscent of ‘Nobody Else’ album closer ‘The Day After Tomorrow’ which Owen also performed lead vocals on.

Barlow perhaps put it best when he described ‘III’ as an amalgamation of Take That’s material from the second time around. As an album, it jumps around stylistically, therefore it lacks the cohesion of ‘Progress’. The choice of material on ‘III’ is far superior, however. The fusion of the ‘Beautiful World’, ‘The Circus’ and ‘Progress’ albums works wonderfully, amalgamating the sincere lyrical content with electro-pop and experimental instrumentation to create an incredible, roof-raising album.

Rating: 5/5.

‘III’ is available now on Polydor.

Music Monday – Volume Thirty Six

1) The Beatles – Across the Universe

Such a pretty little song. Love the lyrics and the melody in this one. “Nothing’s gonna change my world…”

2) The Beatles – Blackbird

I am obsessed with this song right now. It’s a song I’ve always been aware of but I’ve only grown to appreciate it fully this past week where I have checked out pretty much all of The Beatles’ discography. It’s an interesting song musically and simplistic instrumentation-wise. Love it!

3) The Beatles – Magical Mystery Tour

Just an all round brilliant song!

4) John Mayer – Come back to bed

John refers this as an early version of his signature song ‘Gravity’ which makes sense rhythmically. I’m not sure I’m keen on that analogy however because it feels like John has therefore dismissed this beautiful and fantastic song because he wrote something similar and better a few years later. Awesome lyrics and a great chilled-out feel.  Also love the way it builds. “Don’t hold your love over my head”. 

5) Lawson – Taking over me

One of their best and it still sounds awesome two years later. SO catchy and such a feel-good song.

6) One Direction – Night Changes

Beautiful, low-key second single from new album ‘Four’. The below video is for a stunning live acoustic version.

7) S Club 7 – S Club Party

There ain’t no party like an S Club party! They received a mixed reaction when they reunited at BBC Children in Need on Friday night but overall they caused a lot of fuss and excitement. Still an irresistible pop track!

8) Take That – Patience

The song that had a massive contribution to Take That’s massively successful comeback, this song is still just as powerful eight years after its release. Amazing lyrics, an irresistible chorus and an awesome song.

9) Wild Beasts – Reach a bit further

Hauntingly beautiful song. Love the moody feel to this track.

10) Gabrielle – Dreams

One of the best songs from the 90’s, this is 90’s R&B at its best. Just an all round fantastic song and Gabrielle has one of my favourite female voices ever.

Music Monday – Volume Thirty Two

1) Robbie Williams – No One likes a fat popstar

One of many songs that highlights Robbie’s genius. Witty, well-written lyrics that poke fun at the media and those fond of food, its self deprecation style is actually a little sad too. Love the merry-go-round feel of the verses and the operatic chorus. Awesome song.

2) B.o.B & Hayley Williams – Airplanes

Still an absolute tune, I really love the lyrics to this song. Hayley Williams has an incredible voice and B.o.B is a great artist.

3) U2- I still haven’t found what I’m looking for

A song that will forever be relevant to many people a little lost in life. An all time rock-classic.

4) The Magician ft Years & Years– Sunlight

A song reminiscent of early 2000’s house, this is one of the best dance tracks in years. So catchy and SO damn good.

5) Take That – These Days

They’re finally back after a three year hiatus! Take That’s new track is a rather camp, poppy, danceable track which is destined to be a hit. Love the 1980’s feel and the blend of their voices together. Awesome song.

6) Coldplay – Always in my head

A melancholic, chilled song that’s utterly beautiful.

7) John Mayer – Belief

I honestly believe this is one of the greatest songs ever written. Incredible lyrics and the last minute or so is just sheer power. Amazing.

8) Coldplay – 0 (Fly on)

A stunning end to Coldplay’s incredible ‘Ghost Stories’ album. ‘Just a flock of birds is how you think of love’ – what a line.

9) Mark Owen – Falling Star

A song featured only as a bonus track on the Japanese edition of Owen’s 2005 ‘How the mighty fall’ album. It’s a song which proves quite how underrated Mark Owen’s solo career is and this should have been on the standard edition of the album. Utterly stunning.

10) Calvin Goldspink – Grown Up

A great, great song by Calvin Goldspink who, many years ago, was a member of the S Club Juniors (or S Club 8).

Music Monday – Volume Thirty One

1) Prince – Breakfast Can Wait

Prince has returned triumphantly this month with not one but TWO albums! A solo effort and an album with his all female band 3RDEYEGIRL. Both are incredible records with different qualities. This one is from Prince’s solo album: ‘Art Official Age’. It’s classic Prince with a modern twist – simplistic and a funky beat. Great song.

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

2) One Direction – Steal My Girl

One Direction just appear to be going from strength to strength. The lead single for upcoming album ‘Four’, this is a more mature effort but with the classic 1D sound. I really really love this. Piano sequence highly resembles Abba’s ‘The Winner Takes It All’ however…

3) Taylor Swift – Shake it off

I’ve been loving this for a while but have only been completely sold this last week. SO catchy and such an awesome feel-good song. Classic pop.

4) Alanis Morisette – Thank U

There’s something so raw and melancholic about this that makes it irresistible. Love Alanis, especially songs from her early days such as this.

5) Take That – Wooden Boat

Following the news of Jason Orange’s departure, I went back and listened to all of the songs Jay took lead vocal on. Jay was lucky to sing on some of Take That’s best work but I do think this is the stand-out performance. It’s such an incredibly gorgeous song with a Folk influence and Jason’s voice is stunning on it.

6) Take That – Flowerbed

Another Jason Orange lead vocal, this is such a dreamy, beautiful song that concluded 2010’s ‘Progress’ album.

7) Prince & 3RDEYEGIRL – Whitecaps

Prince again, this time with his band 3RDEYEGIRL. I love how chilled out this song is and the Blues kinda feel to it. I really can’t get enough of this right now. Such a beautiful song.

[Unfortunately this is not on YouTube]

8) Prince & 3RDEYEGIRL – TicTacToe

Another song that I’m loving off Prince & 3RDEYEGIRL’s album ‘PLECTRUMELECTRUM’.

[Unfortunately this is not on YouTube]

9) The Script – Man on a wire

I’m still loving the new album from The Script. I really love this song – it’s loyal to The Script’s sound but avoids being too unoriginal from other songs by them. An emotive and beautiful song.

10) Boyz II Men – Human II (Don’t turn your back on me)

Came across this song again after first falling in love with it around five years ago. Forgot what a corker of a song it is! So, so catchy with the silky smooth harmonies we all love Boyz II Men for. Also samples one of my favourite songs from the 80’s: ‘Human’ by Human League.