Music / Reviews
Review: Take That, Ashton Gate Stadium
A Mexican wave went around Ashton Gate before Take That took to the stage on Tuesday evening. And what a stage it was, with a central sphere looking like a cross between Pac Man, the Death Star and the We The Curious planetarium on Millennium Square.
During the show, it transformed into the likes of the Earth and molecules under a microscope, and at one point even discharged Lulu (“our queen,” according to the mustachioed Mark Owen) for a rousing rendition of Relight My Fire complete with gospel choir.
This current stadium tour is to celebrate Take That’s 30th anniversary as a band, with three-fifths of the lineup still intact. Robbie Williams did appear briefly on the big screen singing the opening verses of Everything Changes, but his absence has not slowed down a group who have developed into stadium superstars.
is needed now More than ever
When Rod Stewart played the first of this summer’s shows at Ashton Gate (we’ve got the Spice Girls and Muse still to come), he spent a good while sitting down.
Gary Barlow, Mark Owen and Howard Donald – joined by a dozen backing dancers – pulled wheelies on motorbikes, got lifted into the air, walked on conveyor belts and for a memorable section of the gig performed on what is usually the centre circle of the pitch, serenading a fan called Jordan with their Bee Gees cover, How Deep Is Your Love.
Released in 1996, all Take That fans know that this song was the band’s last single before they split up, returning a decade later with Patience. By no coincidence, this was the next song in their set, with Owen playing guitar in a cowboy hat. “Well I couldn’t come to the wild west without my hat now could I?” he told the crowd.
The three members of Take That take to the Ashton Gate centre circle
All the career-spanning hits were here, with just about as much enthusiasm for the newbies as the 90s classics.
A new(ish) number, Shine, from 2006, was accompanied by the dancers wearing huge peacock-style wings with synchronised LEDs; and it segued neatly into the gospel choir’s intro for Never Forget, from 1995 – with fans needing no encouragement to do the hands in the air followed by clap during the chorus, feeling more and more like Freddie Mercury’s famous Live Aid routine.
An evening that began with Greatest Day ended with Rule the World, as Ashton Gate was filled with the light from hundreds of camera phones held aloft, like the bright stars Barlow sings about.
And with a smaller wave than the Mexican version which heralded their arrival, the trio were gone; having treated many of the 32,000 fans inside the stadium to their own greatest day.
Read more: Review: Rod Stewart, Ashton Gate Stadium
Our top newsletters emailed directly to you
