Live Review: Take That, Perth! This Life On Tour 2024
30th of October 2024 at the RAC Arena in Perth Western Australia
Review by Sheldon Ang
Photography by Sheldon Ang Photography
In fact – Take That, world!
With sales of over 750,000 tickets for 41 dates across the UK, the hottest band in the 90s are still glowing in red, with all 9 albums including the latest album, This Life peaked at the top of the UK Charts. The anatomy of their success gave way to twelve number-one singles, snaking through airwaves in cities from Manchester to Perth. It’s unsurprising that the 8 – time Brit Award winner recently performed to six sold-out shows at London’s O2 Arena in this tour, as they personify their heartbreaks, regrets, love, recovery and ultimately contentment through the lyrical poetry of the varied souls. And despite named after their latest album, the tour is a showcase of their greatest hits.
The evening casts an earlier than usual glitter of excitement. Sophie Ellis-Bextor transcends the stage warmer tag; she’s her own show. The English singer storms the stage with covers such as Gimme! Gimme! Gimme! By Abba and Like a Prayer by Madonna, transforming the already heightening mood to a rave-like revelry, as the floor reverberates with clubbers from the 90s and 00s. SEB moves across the stage with the grace of a solid gold dancer, often kicking, jumping, and spinning – occasionally simultaneously. After all, Sophie toured with Take That 17 years ago, and after 2 decades since her worldwide smash hits Murder on the Dance Floor and Ready for Your Love, she still commands the arena crowd through a scintillating vocal delivery and connection. “It is my first time in Perth” – we won’t be surprised if she headlines in Australia shortly.
At 8:40, the trio – Gary Barlow, Mark Owen, and Howard Donald grace the stage from the top of the stairs with The Greatest Day. It’s an ideal spark to the night – an uplifting track that rose to number 1 in the UK charts in 2008. The anthemic propulsion sips through a blend of subconscious nostalgia, catapulting the fans to rise to their feet, accompanied by screams rivalling the cacophony piercing from a Wiggles concert. Giants is next on the set list, which fits well with the surroundings of the RAC Arena thanks to the big choruses and added beat from the massive bass drums flanking each side of the stage, as Mark Owen and Howard Donald weave their beater like in the finale of a majestic play for the King. Donald then takes on the mic for the chart-topper Everything Changes. Just like Barlow earlier who now resides on the piano, he draws the energy from the screaming fans and returns in favour with an expulsive performance.
Three songs in, the benchmark for tonight’s performance has been engraved into the walls of the RAC Arena. Even the tracks that didn’t make onto the Australian commercial airplay become the rhythm of the 7,000 dancers.
Take That takes us on a journey of nostalgia. “Manchester – back in the late 80s and early 90s was the best place to be. Take That was gonna be an all singing, all dancing extravaganza…we packed our microphones and leather jackets, and off we went to conquer the world…”
And so they relive their sentiments through I Found Heaven.
“We were doing everything we could. We were working as hard as we could, doing everything we could…no plans of breaking free – that’s the thing about Take That; we never gave up, we kept dreaming, we kept working, we kept believing…in the studio, in the club, in the studio, in the clubs – playing to anyone and everyone who would give us a stage. Now we are getting our stamps across Europe and Asia, Australia and America…stretching our wings. And then, the summer of 1993…this happens.”
The crowd dives into hysteria…
For many who grew up in Australia and the plus ones of tonight, they finally arrive at the sounds of familiarity as the beat of Pray reverberates across the floor, swept by maniacal screams from three decades worth of fanship, as Howard and Mark spin and taps mellifluously. After 3 decades, Gary Barlow is still asking for a divine intervention while standing between his two mates who are in their own world. The longing and regret from our first love seem incongruous with the happy-go-lucky flaunt through dance – but we are reminiscing and rekindling the past through celebration; the smell of old cherry chapsticks lingers into our senses, transporting our minds into the smoky air of the Globe Nightclub on Murray Street. For some, the CD cover of Smash Hit 1993 appears before our eyes. The fans have spoken on their favourite stop so far; perhaps they have just been part of the biggest karaoke since O2 in London.
And the narration continues…
“So we went on to five number-one albums during the 90s – not just in the UK but across the world. And all those days we were rehearsing and practicing – paid off, and it became a success. We climbed the mountain, reached the summit…it was time for us to go our separate ways.” The fans release their feelings through an almighty awww.
It’s time to ask the audience about their loyalty through How Deep Is Your Love – it has been requited so far. The falsetto of the rendition is never meant to be as high as the Gibb brothers, but the harmony among the three entwines like lovers from the past, synching like the droplets of waterfalls as we submerge into the beautiful art of pitch perfect.
They then reenact a scene through a phone call, “It has been ten long years…I’ve got an idea – shall we get the band back together?” The fans encourage for a rhetorical, Yes. Patience defines the comeback song. Several costume changes later we listen to Relight My Fire, as the trio dazzle in an all-white outfit that screams the 90’s.
The fans have arrived the pre penultimate stop, Back For Good – arguably the best known track of the award-winning discography of Take That. The track is performed with a reflective undercurrent, consolidating old memories, and retelling the pain with a celebratory smile – afterall the men are in their 50s or so. The sense of poignancy sips into the hearts. Thankfully, time has healed the pain as we rekindle the past with a sing along, smile and dance. Hands are waiving above the canopy of heads, looking like a savannah plain on a windy day at the peak of the night.
We have just witnessed the era of Take That, showcasing the success of a 35-year history. After all, they are continually reinventing themselves from the early days of pop and the new jack swing from 1992 debut album Take That & Party to the catchy melodies that reverberated across the dance floors in Everything Changes, followed by Nobody Else two years later. The band also experimented with electronic and synth-pop before each member went on with their solo career in the next 10 years. Their comeback in 2005-2010 reunited the band as a quartet with elements of rock and balladry before flirting with electronic and synth-pop in Progress (2010). Their latest work saw them experimenting with a blend of modern influences as a trio.
Tonight we rode on a memorable, fun fused journey with one of the most entertaining bands in the world. No wonder Take That was officially crowned as the Best British Group and Best British Live Act at the Brits Award.
Take That are touring across Australia. Tickets are available from Frontier Touring
Sheldon Ang Media would like to thank Frontier Touring and Take That for the media accreditation.
About the Writer/Photographer: The founder of Perth-based Sheldon Ang Media (est. May 2022) has been accredited to more than 120 of the hottest acts including Taylor Swift (ERAS Tour in Sydney), Coldplay (Perth), Backstreet Boys, KISS, Iron Maiden, RHCP, P!NK and Robbie Williams with reviews shared by the likes of Belinda Carlisle, UB40, Delta Goodrem, The Wiggles and Toni Childs on social media. He has interviewed rockers Ian Moss, Ace Frehley (KISS), John Steel (The Animals), Frank Ferrer (Guns N Roses), Phil X (Bon Jovi), Andrew Farris (INXS) plus over 60 artists. He’s also a contributor on Triple M Radio as a music journalist.
