Take That, "This Life on Tour". OVO Hydro, Friday 3rd May, 2024.

My back has been giving me jip for a few weeks now. When it spasms, the pain is excruciating, so I've taken to wearing a back brace for extra protection. Arriving at the Hydro, I was concerned that I'd have to explain why my lower back triggered the security wand, anticipating having to reveal the big blue corset. Those fears were unfounded, however, as I received only the briefest of manual frisks. 

Inside, my wife spotted a display notice stating Olly Murs would not be performing tonight (his BA flight had been initially delayed, then subsequently cancelled). This prompted speculation between us as to who they could get at such short notice, imagining all kinds of local acts. None of us predicted the eventual candidate.

Sitting in Section 204, one level up, waiting for the show to begin, we were transported back in time by the infomercials playing intermittently on the screens. These 60s-styled adverts, cheesy in the extreme, allowed the Take That boys to ham it up big time, ending each spot with the tagline - "Because This Life is Yours". The 60s music playing in between further enhanced this retro atmosphere, setting the stage for a night of pure entertainment. 

Ross King, the unexpected hero of the night, walked on stage to announce Olly Murs' absence and the series of events that led to finding his replacement. It was a twist of fate, as Ross had been in the bar at the Radisson Red hotel when he received a call from Gary Barlow, asking if he knew of anyone who could step in for the delayed Olly. Ross, with a hint of mischief, suggested the guy playing here is very good. Little did we know, this would be the start of an unforgettable performance.

Daniel Rooney, from Cambuslang, went from playing in pubs and bars to opening for Take That in front of over twelve thousand fans in the space of one conversation. The experience didn't phase him in the slightest. Playing covers of well-known songs, he instantly won over the crowd and became a star for the evening. Ross King joined him at the end for a couple of tunes, with Ross singing (stretching that definition).

Daniel Rooney

Later, Daniel received a hero's ovation as the crowd spotted him heading for his seat. Many took pictures and selfies with him. 

The view from Section 204,
(note the walkway suspended from the roof)

During the interval, a girl sitting behind me, who sounded like she was from a rougher part of Glasgow, started to vape. I was taken aback by the swift response from the parent (not hers) sitting nearby on the same row. Blasting her, she declared, 'No! You do not do that here." The girl's non-verbal response was met with another rebuke. "Don't roll your eyes at me! My young daughter is sitting right beside you. Do not do that horrible habit in front of her."  Message delivered; threat made clear; no further vaping occurred. Bravo, middle-class, entitled parent! 

The stage layout intrigued me. Stairs led down from the rear of the central TV box, which appeared to be able to split, a line dividing its middle. Grooves in the floor suggested the box could slide. On the ceiling, an extended platform, with stairs at either end, stretched the length of the hall, offering a potential passage to the B stage. The screen at the back of the stage was huge. It was apparent a lot of our ticket money had been spent on the production rather than simply transferred into the boys' bank accounts.

The hall lights go down, snow (like that from the can the boys had advertised earlier) begins to fall on the stage, and the spinning 'This Life' logo dissolves to static on the television screen as the opening bars of Keep Your Head Up play on a piano. As the vocals begin, the image of the three boys becomes clearer within the static. The screen splits, the two sides turning to form a wedge, and the three of them step forward as one, holding microphones to their mouths, faces still in shadow, only illuminated by a bank of lights from behind. A wind blows through the gap, surging the snow forward, growing stronger until a gale blows through, sending the snow flurries far across the audience. The big screen then awakens to show them singing. As the song finishes, a small drum kit rises up onto the stage, ready for use during the following number. A stunning opening.

They continued with a few more recent numbers before heading back in time to the beginning with Everything Changes. Dressed in bright-coloured costumes, they whizzed through their career, playing up the retro 60's theme with old-school chunky television cameras on stage. For the section after the band split up, each member got to play one of their songs from the time, triggering a number of people to use the opportunity to restock their tumblers or empty their bladders, surely not a comment on the performances. Howard was actually in fine voice tonight, strongly carrying some of the songs. 

The movable stairs were used well on numerous songs, notably Shine and Relight My Fire (where they were actually on fire). I was impressed by the walkway's descent with its explosion of streamers and beaming spotlights. The square B stage secretly held a rising turntable, giving that section of the show added spectacle. The fountains at the front of the main stage were suitably impressive, too. 

I was surprised by how well the new material integrated with the old stuff. With the clever staging and great performances, this show was truly amazing. My photos don't do it justice.

Money well spent.

Videos (on YouTube)

Keep Your Head Up

Shine

Greatest Day

Hold Up A Light

Rule The World

Setlist

Keep Your Head Up
Windows
Giants
Days I Hate Myself
Everything Changes
Sure
Shine
A Million Love Songs
I Found Heaven
Pray
Forever Love (Gary Barlow song)
Clementine (Mark Owen song)
Speak Without Words (Howard Donald song)
Patience
The Flood
Get Ready for It
March of the Hopeful
The Champion
This Life

B Stage
Greatest Day (Walking to B Stage)
These Days
Time and Time Again
Relight My Fire (Dan Hartman cover) (Back to main stage)

Main Stage
One More Word
Hold Up a Light
Back for Good
Never Forget
Rule the World

Ticket Price: £128.20 (inc Fees) from Ticketmaster

Photos

The queue to get out again

Fin Taylor "Ask Your Mother" Tour. The Stand, Glasgow. Thursday 2nd May, 2024.

I didn't get my favoured seat at The Stand tonight. Traffic woes on Byres Road delayed our arrival, so we ended up joining the queue around the corner of the building. I could still see the comedian clearly, so no biggie. 

He's not on stage yet.

Susan Riddell opened the show. I'd forgotten entirely that I'd seen her perform at the GICF Gala until I checked this blog site. The material was fresh. She talked about being single; the problem with dating apps; and got a warm response for a punchline where she yodelled. An assured performer, she won the room. 

Fin is not a comedian who appeals to everyone. He is transgressive (I don't mean that he's aggressive toward trans people) in that he draws his own line for topic acceptability. It's dark. He opened with paedophilia, discussed the confusion about what constitutes grooming, swirled around the plug hole of all forms of mental health and related how he'd take a bullet for his kids, with him firing the gun. Then he related some thoughts about modern-day Auschwitz (which oven does the cafe use?) and finished with some 'Dad' jokes. 

Sometimes, I wasn't sure if it was appropriate to laugh. Was he punching down or finding laughs from the situation? Most in the room didn't seem to care, generating big laughs. 

I admit I found him funny. I laughed, even when I shouldn't. Not many comedians are prepared to venture into those dark areas, so I commend him for doing so. Definitely an acquired taste.

Ticket Price £14.00 plus 80p booking fee direct from The Stand

Glasgow Blues, Rhythm and Rock Festival, Oran Mor, Glasgow. Sunday 28th April, 2024

 

We didn't quite make it before the doors opened but still managed to find a seat in one of the booths. Unfortunately, not one with a view of the stage. So, for the first act, we left our jackets on the seats and watched from the sides. Two big units then breezed in, pushed my jacket aside and sat in my space. As soon as they moved, I reclaimed my seat which meant missing the end of the first set. 

The Greig Taylor Band are Scottish and make a great sound, with heartfelt lyrics and a bit of fun along the way. A great start to the day.

The bald chap in this picture
is not the giant I mention later

Connor Selby didn't do much for me. As bland and soporific as Chris Rea. We didn't even get up to watch them and, like the people around us, spent our time scrolling through our phones. Some did enjoy them, though, and they've won an award, you know. 

We skipped Beaux Gris Gris and the Apocalypse to get dinner: a curry at the Ashoka in Ashton Lane. We only saw the end of their set, but they were okay, if a little bizarre. They do have some amazing album covers.

The main draw of the event for me was to see Elles Bailey. Her music gets regular play on Planet Rock, where she has a weekly show, and I loved her last album and her recent single, Enjoy The Ride. We plonked ourselves close to the front leaving only a small gap in front of us. No one tall could slip in there, we thought. WRONG! This massive bald giant of a man confidently pushed in and stood right in front of Bob. He then invited his, granted, smaller pals to join him, squeezing them into the remaining space. Fortunately, I hadn't set down my roots and managed to shift over. He was a longtime Elles fan, cheering whenever she mentioned previous or upcoming gigs. He also had an annoying wish to film the songs, keeping his tree trunk-like arm raised in the air. He was already a head above everyone in front of him, so why did he need the higher view? Probably so he didn't block his own view of the show. Obviously, it goes without saying he had a pint in his other hand, holding the cup in his mouth to applaud at the end of each song. 

I did manage to ignore his presence eventually. Elles hadn't toured for a while, so this came across like a warm-up gig for her, with everything a little bit rusty, relying on her skill and experience to carry the show. Her regular guitarist wasn't available, so she'd drafted in the guy with whom she writes some of her songs and the band was sharing Cardinal Black's equipment so that they could fly up from Bristol rather than van it. Well, except for the keyboard player who'd brought his own organ for the show. 

The performance was good, her banter charismatic, and everyone loved her. She has a great stage presence, enthusiasm, and a wicked sense of humour. It was funny when she announced the band were due to start tour rehearsals soon because the German gigs were off, and then had to apologise to the bassist because she remembered she hadn't told him this info earlier. Embarrassing! He took in good spirits.

Video link: Enjoy The Ride

We witnessed a moment prior to the show where some friends in the crowd joined to take a group selfie. Elles was passing, heading backstage, and stopped to loom over them in the background, pulling a face. Only I don't think the guy with the camera took the snap because his flash didn't go off as it did with subsequent takes. What a moment to miss! Photobombed by Elles at her own gig.

The final act of the night was Cardinal Black, a six-piece from Wales. While I can't say I loved them, you've got to admire their talent, especially Chris Buck, the guitarist. His work distilled the spirit of The Edge and Dave Gilmour through an emotional blues filter. The band's repertoire has a soulful feel, but I prefer my music a bit rockier. Listening to the singer chat in his lovely Welsh accent made me miss Welsh rockers Those Damn Crows. It wasn't an unpleasant experience, though. It was weird when some fans started waving a huge Welsh flag in such a tiny space. 

I still haven't warmed to Oran Mor as a venue. With the many support pillars obscuring the view of the stage from the sides, the horrendous lighting blinding the audience, and the awful sound in certain parts of the room, I can't see what's good about it, except for the artists that wish to play there. 

Afterwards, I was shattered. Seven bands in three days was a lot. I wonder how I'm going to cope with my first three-day festival later this year. 

Cardinal Black setlist:

Rise Up

Where Do You Go?

Tell Me How It Feels

Terra Firma

Half Way

On My Way

Ain't My Time

Jump In

Warm Love

I'm Ready

Tied Up In Blue

Ticket Price: £28 plus £3.50 Service Fee from Ticketweb.

Note the giant's arm on the left

Chris Buck joined her on stage for the final song