If you had asked me just a few hours before Tuesday night's gig to name one of my favourite concerts of all time, I would have said Take That's The Circus in 2009. However, by 10.30pm, slightly cold and damp from the earlier deluge of rain, I found myself ready to declare that the 2026 return may have been even better.
As we wandered towards St Peter's Metro station, hoping to avoid a mammoth queue, my friend turned and said, 'But Take That never disappoint, do they?' And you know what, that's exactly it. I've lost count of how many times I've seen Take That over the years, whether as a five, four, or three-piece, and I have never once left a show feeling short-changed.
Apparently, seeing one 90s boyband in a few days wasn't enough for me. On Friday, I ventured to London to see Boyzone play their final concerts. While it was brilliant and nostalgic, there really is no comparison. There is a reason Take That have outshone all their peers and still smash the charts with new material: they are everything you want from a pop act.
A Masterclass in Pop Music
Take That have never taken themselves too seriously, aren't afraid to look silly, and know exactly when to pull out the big guns. The Circus 2026 tour is a perfect example of 'if it ain't broke, don't fix it.' The demand was there for them to relive the magic from 17 years ago without making drastic changes. They gave fans exactly what they wanted, preserving all that was good about the original Circus tour and even upping the ante.
That desire to take things up a notch started with their choice of support acts. As the rain poured, special guests Belinda Carlisle and The Script still got the rave reaction they deserved from the soggy audience, who lapped up hits like 'Heaven Is a Place on Earth' and 'Breakeven.'
Mercifully, the blue sky returned almost on cue for Take That's arrival to 'Greatest Day.' From the start of one of their best songs to the fireworks at the end of 'Rule the World,' this was once again a masterclass in how to do bloody good pop music.
An Anthemic Back Catalogue
Every time I see Take That, I marvel at how many anthemic tracks they have in their back catalogue. Anyone inside the Stadium of Light on Tuesday who had never seen them before might have feared they'd peak too soon by bringing out 'Back for Good,' 'Pray,' and 'A Million Love Songs' early. But when you have as many classics as Take That, there's never any risk of that.
A welcome North East debut for recent single 'You're a Superstar' was a highlight, but it's the old stuff that people come for. The medley of 'Do What U Like,' 'Promises,' 'It Only Takes a Minute,' and 'Take That and Party' took us back to a time when cassettes ruled.
I've often thought this before, but I'm now happy to declare that no song hits quite as hard as 'Never Forget' when witnessed live. There's something about the elation of its hands-in-the-air chorus that's just different gravy. While still considered one of their 'newer' tracks, the now 20-year-old 'Patience' is a slice of pop perfection, as is the still vastly underrated 'Said It All.'
Local Talent Shines
There was added firepower to 'Relight My Fire,' courtesy of the North East's own Zoe Birkett, who looked like she was enjoying every second of being back on home turf. Her vocals were as red hot as the pyros going off around her, and her presence cut through the chilly evening. Zoe and the whole region should be massively proud of the sensational performer she has become since appearing on Pop Idol.
'Hold Up a Light' is one of those Take That cuts that any live show wouldn't be the same without. And, of course, for many, 'Rule the World' will always be the natural choice for a closing number.
I never would have imagined writing this review arguing that Take That may have even surpassed their 2009 selves with the return of The Circus, but you know what? I think they just might have done that.
Can I make a polite request for Progress Live 2027 next please?
