Take That, The Circus Live Summer 2026, Hampden Park, Glasgow. Friday 12th June, 2026

We parked in Shawlands, accepting it would be a half-hour walk to the venue. Naturally, we passed several parking spaces closer on the way, but at least we avoided the crowds when they piled out after the show.

Our entrance gate was on the opposite side of the stadium from our approach. By the time we wandered round, the gates were open, but the line was still long. About fifteen minutes later, after a cursory wand waft, we were in. My wife knew exactly where she wanted to stand, so we headed onto the pitch to snag our spot near the B stage, close to the barrier.

My next job was to go get her water and snacks.

I asked the official which steps granted access to the bars, and was directed towards two sets. At this point, I should say I should have spotted the massive signs on either side of one set of steps indicating the way to the toilets/food/bars. Lots of fans were flowing down those steps, so my brain automatically thought that couldn't be an exit. So up I went along a parallel set, only to find it gave access to a toilet area. I asked another official at the top of the steps how to get to a bar area, and he directed me to VIP Hospitality. Only I didn't know that at the time. 

At the entrance, I was asked to show my ticket. I flashed my Front Standing B wristband, and the security guy let me in. I lifted a bottle of water from the fridge, spying the incredible-looking buffet of hot food and desserts, but no chocolate bars. My wife had given me specific instructions to buy chocolate. I asked at the counter if they had any and how I could pay for my water, and was told they didn't have any and that I didn't need to pay. Everything was free.  

It was then that I twigged where I was. I didn't want to push my luck and be ejected, so I headed back out clutching my 'free' bottle of water. I thanked the security man as I passed, before traipsing down pitchside again. I then took the correct set of stairs and found a concession selling chocolate (and other things). 

The sun was breaking through the clouds. My wife joked that one side of my face would be burned tomorrow. I didn't think so. The wind was so strong that the clouds brought a welcome reprieve from the warm sunshine.   

Belinda Carlisle, at 67, is limber. Barefoot on the stage, wearing a heavy pink skirt, a black polo top and sunglasses, she whizzed through her hits, waving her arms to the music, dancing along. I was surprised by how many of her songs I knew and liked.  A good act to warm us up. 

Belinda Carlisle Setlist:

(We Want) The Same Thing

Live Your Life Be Free

I Get Weak

Circle in the Sand

Summer Rain

Leave a Light On

Heaven Is a Place on Earth

When she sang Summer Rain, a thick, ominous, heavy cloud rolled across the stadium sky. By the time The Script appeared, the ponchos were already on, and the rain was teeming down. It didn't last long, but neither did it stay away, intermittently dampening the crowd. I (thought I) spotted a former colleague, Lisa, singing along to The Script. She didn't confirm my Messenger message (no signal?), so I didn't approach her in case I was mistaken. (It was her, I later discovered).

 

I can take or leave The Script. I am somewhat immune to Danny's vocal charms. It was nice to hear that afterwards they played a tiny gig in Malone's, an Irish bar in town. Keeping it real, given they're headlining the OVO Hydro later in the year. Ironically, when they sang Rain, the sun came back out.

The Script setlist:

Superheroes

Rain

Man in the Arena

Nothing

The Man Who Can't Be Moved

Breakeven

Hall of Fame

It was pissing down again by the time the Take That appeared on stage. Clowns, balloons, and Cirque du Soleil-style acrobats converged to camouflage the trio's arrival in a remarkably colourful opening on Stage B. 

Opening song, "Greatest Day", begins at around 5 minutes and 45 seconds,

if you want to scroll past the punters' heads.

I'm not keen on staging 'in the round', where the artists perform on a stage in the crowd and move around to sing to everyone. The dance moves to Pray lacked nostalgic impact when viewed from the rear. Still, we got to see each of them up close briefly during these numbers. 

The elephant set piece during The Garden was amazing. On one level, I knew it was a costume scaffold draped over a movable, raised platform, operated by a crew and performers. However, what my eyes saw was a massive elephant with flapping ears and a swishing tail, with the boys in the box on top. It was mightily impressive.

Given that we were so close to Stage B, this meant we were quite a distance from the main stage. This allowed us to take in the full extent of the incredible wall-to-wall screens with their circular centrepiece. The trade-off was that the performers appeared quite small. Gary got to play solo for a couple of numbers before the clown show returned. I liked how we got to see the boys turn into clowns, applying grease paint and makeup and putting on their costumes while singing, appropriately enough, "The Circus." 

At this point, I should mention I experienced a fanboy moment. Standing maybe fifteen yards from me, I spotted author Ross Mackenzie with his wife and daughters. I snapped a photo of him without thinking, then immediately regretted it. He wasn't at work. This wasn't a signing. Why had I done that? I couldn't go over and say hello. Too nervous.      

Said It All is a touching song that slowed the tempo, allowing them to play a few reflective tunes in preparation for the pre-encore finale. Iron Maiden could take some tips from the TT crew, because the ringmaster (or whatever he's called) was amazing. Inflating before us, he was so much more than a balloon. His arms moved, his face was expressive, and he spoke. Quite a spectacle with all the circus performers doing their stuff around him.  

For the encore, the boys returned to sing my two favourite Take That songs (both of which found their way onto my wedding playlist, along with the "I am the Doctor" theme by Murray Gold). I threw my voice into the throng and loved every magical moment, the stadium illuminated with camera torches. The atmosphere was incredible. The traditional end-of-show fireworks were nothing special, the wind quickly dispersing the glittering explosions. A minor gripe, though, after such a spectacular show.

As we shuffled across the pitch to the steps, the Bill Medley and Jennifer Warnes song "Time of My Life" (from Dirty Dancing) played over the PA, whipping up another sing-along from the crowd, some of them busting out the movie's dance moves. A lovely cherry to top off such a sweet evening. 

On the way home, I spotted another pharmacy colleague, Felice, chatting with a tall male friend near the stadium. I waved as we passed, but she didn't notice. Sometimes I think I'm the invisible man (but that's a Queen song). 

Take That setlist:

B Stage

Greatest Day

Hello

Could It Be Magic (Barry Manilow cover)

Pray

A Million Love Songs

Back for Good

The Garden

Main Stage

Shine

Up All Night

Babe

You're a Superstar

Love Ain't Here Anymore (Snippet) (Gary solo)

Nobody Else (Snippet) (Gary solo)

The Circus

What Is Love

Do What U Like / Promises / It Only Takes a Minute / Take That and Party

Said It All

Never Forget

Patience

Relight My Fire (Dan Hartman cover) (with Zoë Birkett)

Encore:

Hold Up a Light

Rule the World

Ticket Price:
Album Presale - Front Standing B Ticket: £116.00 x 2 = £232.00

Service Fee: £11.50 x 2 = £23.00
Venue Facility Fee: £2.00 x 2 = £4.00
Handling Fee £2.75
Total = £261.75

The view of the main stage when we arrived

Belinda belting out a tune

My wife wants to ban Stetsons.

Danny

Expecting rain?

Cool poster

Pre-show balloon clowning

They brought their own rain

And umbrellas.

Tightrope walker doing his stuff

Showing off

Being lazy.

Better get on, there's a show on

Clowns!

Och aye, the noo!

Relight My Fire

Cheers Gary

A fitting tribute to 'that' goal.

Momentoes

Pierre Novellie "You Sit There, I'll Stand Here", The Stand, Glasgow. Saturday 16th May, 2026

 

Certain elements of this gig will remain memorable (esp as I've now typed them out). 

Firstly, it was a sell-out, so the staff advised us not to leave any spare seats. However, the seat legs were touching, only leaving sufficient space for the arsecheeks of a toddler. It soon became apparent that, as the show was attended by adults, most of whom were larger than a toddler, someone in each row was going to draw the narrow straw. We bailed to the benches at the back rather than squeeze beside a random stranger and watched in amusement as the losers discovered that they'd won the booby prize.

The man in the middle wishes he had no arms

Excuse me while I sit sideways for the duration of the show.

Thirdly, (I'll get to secondly later) I'd had little sleep, writing up my High Life blog into the wee hours, then up early the same day to give the dogs a long walk (not like the film - we all came home). We'd also dined at The Kelvin beforehand (lovely meal), so my brain was fighting a losing battle between post-prandial soporification and the negligible alerting effects of Coke Zero and Irn-Bru. Essentially, what I am saying is I wanted a nap.

It was a struggle. Pierre is low energy. His observational comedy is in his words, not his actions. When I closed my eyes, they didn't want to open again. The nod-off alert jump freaked me out a couple of times. Which was a shame because he was funny. The set detailed his recent life changes, including his move with the love of his life from Central London to the suburbs. 

He's now discovered a kernel of middle age is growing within him, despite only being thirty-five. He now finds himself commenting on the quality of other people's parking despite not having a car. He believes there are two types of people: dishwasher stackers, who know how to fill a dishwasher logically, and dishwasher artistes, who believe randomness is an expression of personality. Like magnets, the two types are mutually attracted to one another, as every relationship must have one of each. He can't blame everything on his autism, though he did admit his publisher was annoyed at him because they wanted to place his self-help book about the condition under Comedian Memoir, and he said 'No'. Flatly refused to budge because it wasn't a memoir, even if that marketing would have made him more money. 

I missed some of the other bits, but I did stay focused for his finale, detailing the grand move across London. His fiancée couldn't be present on moving day, and he'd just returned from Melbourne, but rather than rearrange the moving date with the moving company and incur an £8 penalty, he insisted he could do it without her. The tale grew funnier and funnier the longer it went on, as mishap followed mishap. For example, he realised he had become the wierdo on the underground as his treasured frozen steaks defrosted around his neck, multiple tote bags becoming soiled with blood. 

Secondly, the preshow music playlist wasn't long enough and repeated randomly. Maybe it was so short because these are the only songs he likes, and therefore, why play others? I was a bit freaked out by this. 

Where Were You? by Mekons
Come On by Jules Tropicana

That's Entertainment by The Jam

Where Were You? by Mekons

Things Can Only Get Better by D:Ream

Fugue State by Vulfpack

Come On by Jules Tropicana

TV Star by Du Blonde

Lowly by Young Fathers

Where Were You? by Mekons

Wait for the Moment by Vulfpack

Fugue State by Vulfpack

Come On by Tropicana

   

Kurt Cobain lives?

I understand the image on the left: Pregnant women get to sit. 
But the one on the right?
If you have a puppet (or doll) on your lap, perch against a standing pensioner?
Surely not?
(Pictured on the Glasgow Subway carriage wall)

I don't know why I wrote the bits out of order. Perhaps I was trying to mix things up. I don't like it, but won't change it. A few people have commented that they think I'm edging along the Autistic spectrum. I'm beginning to accept that they may be correct. 

Pierre was good. Next time, I'd like to see him in the evening. Make it happen, please.

Ticket Price: 2 x £17.50 = £35.00, plus Booking Fee £1.60 = £36.60 from The Stand (on member
presale).