UK alternative rock band Scout Killers are to embark on a UK tour in April. Here’s the accompanying press release:
The British connoisseurs of guitar driven alternative rock release news of their forthcoming April 2016 UK tour. Joining the Bath (UK) based Scout Killers on their crusade across English cities are support acts Amongst Thieves and The Loose Cut.
The 5 piece outfit of Scott Cox (Vox), Julien Morrez (Guitar/vox), Beau Stevens (Guitar), Josh Ellis (Bass) and Chris Phillips(Drums) shall head out on tour following the release their latest single ‘Rip Me Apart’ out 28th March 2016. Having made loyal fans through extensive touring and their acclaimed 2014 EP – ‘Stand Your Ground’, Scout Killers are fresh out of the recording studio with new material to unleash during this year. Expect huge sonics, atmospheric guitar work and emotive vocals from the band who effectively know how to create anthemic rock tracks.
Catch Scout Killers on tour April 2016:
3rd April – London – The Black Heart
4th April – Guildford – The Star Inn
5th April – Leeds – The Key Club
6th April – York – Fulford Arms
7th April – Newcastle – Head Of Steam
8th April – Bath – The Nest
9th April – Manchester – Aatma
As a huge Thatter, every Christmas I hunt for festive Take That-related material. I thought it’d be great to put all of my discoveries in one place for all Thatters to look through. This is by no means definitive but there’s a good range of festive Take That content here! If you have any videos or images you think I have missed then feel free to let me know so I can add them here 🙂 Enjoy and Merry Christmas!
VIDEOS
Take That – Babe (Live & Kicking 1993)
Take That live on Live and Kicking back in December 1993 singing ‘Babe’.
Take That – Pray (Top of the Pops Christmas)
‘Pray’, performed on Top of the Pops at Christmas time.
Take That – Silent Night (Live Beautiful World Tour)
Whilst usually beginning live performances of ‘Pray’ with the middle eight, on this particular occasion it was replaced with a gorgeous version of ‘Silent Night’ before launching into their first ever UK number one. Awesome!
Take That – Jingle Bells (Live Beautiful World tour)
Another festive clip from the Beautiful World tour in which Take That sing Jingle Bells whilst Howard plays the trumpet.
Take That – Marks & Spencer Christmas Advert
The brilliant M&S Christmas advert from a few years back!
Take That – Greatest Day (Top of the Pops Christmas)
Greatest Day performed on Top of the Pops Christmas special.
Take That – Festive Message 2010.
Take That’s festive message from 2010. Howard looks extremely happy 😉
Take That – These Days (Top of the Pops Christmas)
‘These Days’ performed on the 2014 Top of the Pops Christmas special.
Take That – Turning on the Regent Street Christmas Lights
Take That turning on the Regent Street Christmas lights in 2014.
Gary Barlow: Let’s Pray for Christmas
This song was a runner up entry into the BBC’s Pebble Mill at One Christmas song competition and is one of the oldest clips of Captain Barlow in existence. Boy, has Gary come a long way from this!
Gary Barlow: Happy Xmas (War is Over)
This is Gary Barlow performing a cover of John Lennon’s ‘Happy Xmas (War Is Over)’ on a TV show in the late nineties.
Gary Barlow: CBeebies Bedtime Story 2010
An absolutely adorable clip of Gary appearing on CBeebies during Christmas 2010. He reads an Elmer story.
Gary Barlow & Coldplay: Christmas Lights
Gary Barlow joins Coldplay onstage (admittedly rather briefly!) to sing the beautiful ‘Christmas Lights.’
Gary Barlow & Michael Buble: Home & Rule The World
Gary singing ‘Home’ and ‘Rule The World’ with Michael Buble on Michael Buble’s 2011 Christmas special on ITV.
Gary Barlow, Tulisa, Nicole Scherzinger & Dawn French: Fairytale of New York
A pretty comical clip of Gary being joined by the legendary Dawn French, the awesome Nicole Scherzinger and the… well, Tulisa. Great version of ‘Fairytale of New York’.
Gary Barlow – We Like To Love (Live on Text Santa)
I’ve always found this song rather wintry anyway and this was reinforced when Gary performed this on Text Santa.
Gary Barlow & Loose Women – Text Santa
Comical sketch involving the Captain and some of the Loose Women!
Peter Kay’s Geraldine McQueen – Once Upon a Christmas Song
Gary Barlow co-wrote this with Peter Kay himself. It was released in 2008 and reached Number Five on the UK Singles chart. All proceeds went to NSPCC.
Donny Osmond – Christmas Time
Co-written by Gary along with long term collaborator Eliot Kennedy.
Mark Owen – Child (Live Top of the Pops Christmas)
Mark Owen performs his hit single ‘Child’ on Top of the Pops Christmas back in the late nineties.
Mark Owen – Lantern
Mark Owen performed this still unreleased original track at a Charity event a few Christmas’ ago.
Mark Owen wishing a fan a Merry Christmas
Pretty self explanatory!
Robbie Williams – Walk This Sleigh
Robbie Williams’ tongue in cheek version of a Christmas song.
Robbie Williams & Nicole Kidman – Somethin’ Stupid
An amazing version of a Frank and Nancy Sinatra classic, Robbie reached Christmas Number 1 in 2001 with a little help from Nicole Kidman with their version of ‘Somethin’ Stupid’.
Robbie Williams – Happy Xmas (War is Over)
Robbie Williams singing John Lennon’s ‘Happy Xmas (War is over)’ – The Take That lads sure love this one!
Robbie Williams – Merry Xmas Everybody/Merry Christmas Everyone
Taken from last year’s performance for Radio 2, here’s Robbie singing the Slade classic ‘Merry Xmas Everybody’ and ‘Merry Christmas Everyone’ by Shakin’ Stevens.
Robbie Williams – Candy (Live Top Of The Pops Christmas)
Not really Christmas but Robbie performed ‘Candy’ on the TOTP Christmas special last year.
Robbie Williams – Different (NYE Top of the Pops)
Robbie performs the brilliant ‘Different’ on a New Years Eve Top of the Pops special.
Robbie Williams – Soul Transmission
This isn’t strictly a Christmas track although christmas is mentioned so I think I can be forgiven!
Robbie Williams – The Promise
Robbie refers to this as his Christmas song so I thought it worthy to be included in this post.
Robbie Williams – Dream a Little Dream
This is Robbie’s interpretation of a classic, released at Christmas time with a festive video.
GALLERY
Take That get their Christmas jumpers out with Reggie Yates and Fearne Cotton for the 2014 Christmas Day Top of the Pops Special.(Broadcast on BBC1-2pm, Thursday 25th December) Photo by Mark Allan EMBARGOED UNTIL 20/12/14
Since their rise to prominence in 2013, The 1975 have established themselves as one of the UK’s biggest bands. Renowned for their eclectic music and diligent outlook, they have secured an ever-increasing fan-base, a number one album and sold out venues all over the world. I found myself crammed into a packed Brighton Centre on Thursday evening to catch a glimpse of the magic.
The evening commenced with support act Ratboy (real name Jordan Cardy). The name is certainly fitting – his image, lyrics and music (an amalgamation of rock and hip-hop) possess a gritty and shabby feel to them. Along with his band, he delivered an energetic but rather immoderate set.
Over the long half-an-hour wait between Ratboy and The 1975, the house lights dimmed gradually, a brilliant touch which only intensified the anticipation in the venue. Finally, at 9pm, scatty lasers swept the room, static occupied the screens and eerie sounds eventually evolved into a pink glow and the distinctive Bowie-esque guitar riffs of latest single ‘Love Me’. It was the perfect opener, generating a buzz of excitement which did not falter throughout the remainder of the show. The band continued to power energetically through hits such as ‘Heart Out’ and ‘Settle Down’ in addition to the material from their early EP’s such as the slushy ‘Falling for You’ and effortlessly catchy ‘So Far (It’s Alright).’ The audience were also teased with four new tracks from the band’s upcoming second album. Whilst this was a daring move, the new material was exceptionally well-received by the crowd. Similarly to the band’s début album, the new songs verified that the ‘80’s are still very much alive. ‘She’s American’ is an amalgamation of previous singles ‘Heart Out’ and ‘Settle Down’, ‘Change of Heart’ is the band’s take on Madonna’s ‘Crazy For You’ whilst the brilliant ‘Somebody Else’ utilises scatty synthesiser clips and funky bass lines. It was ‘The Sound’, however which prompted the most rapturous response from the audience, triggering exuberant jumping to the funky 80’s-esque indie-pop track.
The new songs weren’t the only modification since the band’s previous tour. The band has undergone a significant transformation, seemingly embracing pop music as their primary focus. Their famed monochrome façade has been subsequently replaced by a vivid pink glow. Indeed, the stage was permanently ignited in a sea of effervescent technicolour, primarily supplied by screens and laser lights. For such an intimate venue, the display was spectacular and accompanied their cinematic array of songs perfectly.
The band as a whole also exhibited more confidence and proficiency whilst frontman Matt Healy’s vocals were cleaner and more self-assured than ever before. Healy jauntily covered all areas of the stage, interacting with all parts of the arena. His carefree charisma made him an endearing frontman to watch, particularly when he took a sip from his glass of wine or lit a roll-up during the fidgety instrumental-dominated ‘Menswear’. Every movement was effortlessly cool, well-timed and sent the crowd into meltdown. It’s too easy to neglect the contribution of the rest of the band, however – particularly bass player Ross MacDonald and guitarist Adam Hann. George Daniel’s drumming plays a significant role in the band’s tight, funky sound whilst MacDonald and Hann swapped guitars for synthesisers and vice versa an exhausting amount during the show.
Throughout the show, it was clear that Healy and the crowd fed off each other and it worked beautifully. “We’ve invested in screens so you don’t have to. We don’t want you to spend the show watching us through screens as that would just be ironic, wouldn’t it? Just for this song, I want you to put your phones away” he stated before an emotional performance of ‘Me’. Needless to say, not one phone was visible during the track. It was a moment which reinforced the loss of interaction; much of the crowd unknowingly watched the show through the screens of their phones, valuing capturing the moment on Instagram and Snapchat over memory. It also reinforced Healy’s impeccable ability to engross an audience.
The atmosphere was as animated as my previous experience of seeing The 1975, perhaps slightly intensified. At least ten females were removed from the crowd by security, either the consequence of fainting or drinking too much. One quick glance around at the audience during the emotional ‘Robbers‘ revealed tears sliding down many’s cheeks. It was clear that the band’s music plays a huge role in the lives of many.
The evening culminated with a perfect crowd-rousing trio of songs for the show’s encore. The audience were captivated during the tender ‘Medicine’ before launching into a wild frenzy during the arguably best-known hits ‘Chocolate’ and ‘Sex’.
It was a privilege to be present at one of the most spectacular shows ever held in an intimate venue and I for one believe this is still only the beginning for The 1975.
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.
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.
Another 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.
The 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’.
I 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.
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.
[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.
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.
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].