Like them or loathe them, few British pop acts can command a stadium quite like Take That. Thirty-six years after their formation, and despite a line-up that has weathered enough changes to test even the most devoted fanbase, Gary Barlow, Mark Owen and Howard Donald rolled into Glasgow’s Hampden Park for the first of two sold-out nights beneath the ever-unpredictable Scottish sky.
The question hanging in the damp evening air was simple: are Take That still really Take That? By the end of a spectacular two-hour extravaganza, the answer was emphatically yes.
This latest incarnation of The Circus tour promised scale, spectacle and more than a little theatricality. Nobody arriving at Hampden could have failed to notice the sheer enormity of the production. Two stages sat at opposite ends of the pitch, linked by a lengthy runway that transformed the national stadium into something resembling a travelling big top on steroids. Stage A was the ‘Traditional’ but on a gigantic scale ands adorned a la the greatest show on earth; Stage B was a giant round stage as you’d expect in any serious circus.
Before the headliners arrived, the crowd were treated to a pair of accomplished support performances.
First up was Belinda Carlisle, who somehow appeared to possess the unique ability to summon sunshine to Glasgow on command. Emerging in a flowing pink skirt and black jumper, the barefoot former Go-Go’s frontwoman delivered a concise but thoroughly enjoyable set packed with beloved hits. ‘Circle in the Sand’, ‘Leave a Light On’ and a rapturously received ‘Heaven Is a Place on Earth’ reminded everyone why her catalogue has endured for decades. Sound issues occasionally battled against her, courtesy of the blustery conditions, but Carlisle’s warmth and charisma easily prevailed.
Next came The Script, whose frontman Danny O’Donoghue instantly seized control of the vast venue. Arriving through a trapdoor like some benevolent stadium deity, he led the Dublin outfit through a polished, energetic set that felt tailor-made for an audience of this size. A memorable FaceTime call with an unsuspecting fan’s partner at home provided one of the evening’s funniest moments, while crowd favourites including ‘Hall of Fame’ ensured anticipation levels continued to rise.
As dusk approached, a troupe of clowns, balloons and circus performers took over proceedings. It was gloriously bonkers, wonderfully over-the-top and entirely in keeping with Take That’s enduring commitment to entertainment on a grand scale. Eventually, from behind a sea of balloons, the trio emerged dressed as camp, caped matadors to a deafening reception.
Opening with ‘Greatest Day’ was a masterstroke. Confetti erupted, screams echoed around the stadium and any lingering doubts about the group’s relevance quickly evaporated. The opening segment on Stage B provided an intimate feel despite the cavernous surroundings, with highlights including ‘Hello’, a rain-soaked ‘Could It Be Magic’ and a stirring rendition of ‘The Garden’.
The weather, meanwhile, seemed determined to become an unofficial fourth member. Sunshine, torrential rain and gale-force winds all took turns making guest appearances. At one point Gary Barlow appeared to challenge the heavens directly by asking if the downpour was “the best you’ve got”. Scottish weather, never known for taking criticism lightly, promptly responded with renewed enthusiasm.
One of the evening’s most impressive visual moments arrived when the band made their journey to the main stage atop a gigantic mechanical elephant. Equal parts circus parade and pop spectacle, it perfectly encapsulated the ambition of the production.
Musically, the trio demonstrated there’s more to them than polished pop hooks. A section showcasing Barlow on piano, Owen on guitar and Donald on drums highlighted genuine musicianship that often goes overlooked by critics eager to dismiss them as merely a manufactured phenomenon.
As darkness descended, the production values reached another level. An extended introduction to ‘Relight My Fire’ delivered one of the night’s standout visual sequences, featuring dazzling projections and effects that drew collective gasps from the crowd. It was the sort of moment that simply wouldn’t work anywhere other than a stadium.
By the closing stretch, families were reluctantly departing early in an effort to beat Hampden’s notoriously challenging post-gig transport scramble. Those who stayed were rewarded with a triumphant finale featuring ‘Hold Up a Light’ and the inevitable stadium-wide singalong of ‘Rule the World’.
So, are Take That still Take That?
Robbie Williams may have long since embarked on his own superstar journey, and Jason Orange remains absent, but what remains is a trio who understand exactly how to deliver a world-class stadium spectacle. This isn’t merely a concert; it’s theatre, celebration, nostalgia and escapism rolled into one meticulously crafted production.
Review by John Brown
Photographs by James Edmond Photography
