Live Review: Take That, Sophie Ellis-Bextor @ RAC Arena, Perth

Fresh out the gates of Saltburn and giving new life to her 2001 banger Murder On The Dancefloor (Thank you, Barry Keoghan) is Sophie Ellis-Bextor, proving that not only is the song still a smash, but there are gems hidden throughout her whole discography.

Music Gets The Best Of Me sees her dive into a shimmering pool of funk influences. The recently released Freedom Of The Night is a disco-tinged call back to early 2000s Kylie Minogue with enough punch to hit you right at the back of the arena.

However, it’s her covers of Gimme Gimme Gimme (A Man After Midnight) and Like A Prayer that are enough to rip the crowd from their seats as she spins like a glittery pink disco ball. Ellis-Bextor is invigorating and a cool breath of air. She’s proof that a great band, some killer vocals, and a light-up sign can really take you places, especially when you’re partying to covers of classic hits.

If you thought Take That was just for British mums… you would be correct. Even my own mother is here tonight by choice, screaming with utter excitement at being mere metres away from Gary Barlow, Howard Donald and Mark Owen. (Though her favourite was always Robbie).

“We’re back in Australia, and it feels amazing,” belts Barlow before launching into the lush pop tones of Giants while the other boys bang giant drums at each corner of the stage. Howard gets a moment to himself on the jazzy Everything Changes, then it’s Mark’s turn on Shine, a euphoric rock song for the ages, proving that there’s nothing wrong with the classics as every single hand is up swaying along and clapping like 10,000 windmills. It’s also great to see each member getting a go in the spotlight.

“We’re gonna take you on a bit of a Take That journey,” narrates Mark before setting up a pantomime on stage. It’s a confusing mesh of let’s-throw-everything-at-the-wall-and-hope-for-the-best meets absurdist theatre that almost seems too self-referential at times. 

The show takes a pause as Howard wheels a trolley of goodies onto the stage with enthusiastic gusto. “Everywhere you go in Europe, they give you chocolate, and what is the first thing I get when I come here? F**king Tim Tams,” chuckles Barlow. The first Australia Take That selfie is taken, and footie jerseys are thrown into the crowd. (They’re now Freo supporters, for anyone wondering). 

Two-time songwriter of the year, Gary shines brightest when at the helm of the keys. Stripped back to a bit of ebony and ivory and his dulcet tones, A Million Love Songs and Back For Good show why he was the one on the X Factor judging panel. 

A peculiar fake phone call skit kicks off a dive into the reunion era, starting with the unforgettable Patience. There are true moments of pure euphoric splendour in the show within this middle section.

The Flood, off 2010’s Progress, comes to life in exhilarating highs as the energy builds into an explosive final chorus of hair-raising proportions. Pray sees a daring rendition of the song’s choreography 30 years later, and yes, they’ve still got the moves. Dan Hartman cover Relight My Fire and These Days turn the dial right up to disco, as the guys don exuberant white sequin suits straight out of Saturday Night Fever. 

There are also times when it seems perhaps three decades is more than enough time to hang up the mic. Recent tracks from their latest album, This Life, including the title track, are nice but not quite hitting like the classics. It feels like there’s a final bit of polish missing to really take the show to the next level.

It’s a handcrafted selection box of hits spanning each era from the beginning to the present, as the band reminisces about the career highs and lows that got them to where they are today.

The back end is filled with enough hits to keep you going, whether it’s the 90s boy band crowd stomper of Never Forget or the tear-jerking violins on Hold Up The Light that crash like waves against guitars and Owen’s falsetto.

They’ve still got the vocals, the moves, and enough swagger to pull off numerous bedazzled outfits. It’s also a good sign when thousands of mums delirious on prosecco and pop songs are singing every word back at you with just as much bravado.