Simon Cowell's latest musical venture, the seven-piece boyband December 10, has sent fans into a frenzy following the debut of their first complete performance. The group delivered an acoustic rendition of NSYNC's classic hit 'Bye Bye Bye' at London's renowned Metropolis Studios, marking a significant milestone for the newly-formed act.
A Band Forged on Netflix
The band was assembled by the music mogul, 66, on his new Netflix documentary series, Simon Cowell: The Next Act. The six-part show, which premiered on Wednesday 10 December, follows Cowell's mission to discover and mould the next global boyband sensation. However, the series itself has faced a torrent of criticism from television reviewers since its launch last week.
December 10 is comprised of members Cruz (19), Danny (17), Hendrick (19), John (17), Josh (17), Nicolas (16), and Sean (19). Their debut performance saw them standing in a circle, each playing their own instruments—a detail that particularly delighted their growing fanbase. This full set offered the first proper look at the group's talent beyond the brief clips featured in the Netflix series.
Fan Adoration vs Critical Panning
Despite the show's negative reception, fans flocked online to watch the performance premiere and were effusive in their praise. Social media was quickly flooded with comments lauding the young group. Supporters gushed, 'The vocals are king', 'I'm in love with them', and 'Well done all smashed it'. Others highlighted the novelty of a boyband playing instruments, with one fan declaring, 'A boy band and instruments, perfect', and another writing, 'JAW IS ON THE FLOOR'.
This public enthusiasm stands in stark contrast to the scathing reviews handed to The Next Act. Critics have universally panned the series as a tired retread of Cowell's past successes. The Guardian's Stuart Heritage described it as 'the billionth take on his one idea', bluntly stating it is 'literally just another bloody X Factor'. He criticised the show's familiar format of auditions, bootcamps, and emotional backstories.
A Vanity Project in a Changed Landscape?
Other publications were equally dismissive. The Telegraph's Anita Singh headlined her review 'Simon Cowell’s comeback series is as flat as his hairdo', calling the show a 'dated and derivative' vanity project. Metro's Jon O'Brien questioned its relevance, noting that pop music's star-making methods have evolved since the heyday of TV talent shows, lamenting, 'Unfortunately, no one seems to have told Simon Cowell.'
Grazia's Nikki Peach suggested the series was as much about Cowell's own career 'next act' as finding a new band, pointing out his desire to prove his continued relevance. The series features appearances from Cowell's wife, Lauren Silverman, and music industry figures including Savan Kotecha and Pete Waterman.
Cowell's track record in creating hit acts like One Direction, Little Mix, Susan Boyle, and Westlife through shows like The X Factor and Britain's Got Talent is undeniable. Yet, the critical consensus suggests his latest formula may be struggling to connect in the streaming era. For now, however, the immediate success of December 10's first performance indicates that while the show's format may be criticised, the band itself has already captured the public's imagination.
