NEWS: Take That Announce Progress Tour

Today, the most exciting reunion in British pop history gathered speed as dates for a brand new Take That Tour, Progress Live 2011, were announced at a press conference in London. Gary, Howard, Jason, Mark and Robbie confirmed that they will hit the road next year for a monumental 14-date summer stadium tour around the UK before heading to Europe for a further six shows. Progress Live 2011, is the band’s biggest tour yet and will be the first time they have toured together as a five-piece since 1995.

Progress Live 2011 will be a feast for the imagination, charting the evolution and progress of Take That and Robbie Williams through their extraordinary 20-year history. The spectacular live shows will celebrate Take That’s biggest hits from the last two decades and, will also see Robbie take to the stage to perform songs from his incredible chart-topping solo career.

Between them, Take That and Robbie Williams have sold over 80 million albums, had 13 number one albums, 17 number one singles, played to over 14.5 million people live, won 19 BRIT Awards, eight MTV awards and five Ivor Novello awards; and the list goes on.

Progress Live 2011 follows the band’s time-honoured tradition of starting in the UK’s North East , kicking off at Sunderland’s Stadium of Light on the 30 May, then heading to The City of Manchester Stadium, Cardiff’s Millennium Stadium, Dublin Croke Park, Glasgow Hampden Park, Birmingham Villa Park and finally London’s Wembley Stadium for four nights.  The band then head to Europe for shows at Milan’s San Siro Stadium, Copenhagen Parken, Amsterdam Arena, Hamburg Imtech Arena, Dusseldorf Esprit Arena and Munich Olympiastadion.

UK Tickets go on sale at 09.00, Friday 29 October 2010

European Tickets go on sale Friday 5 November 2010 (see timings overleaf)

Samsung Electronics is proud to announce that it has become the Presenting Partner of Take That’s Progress Live 2011 (UK only), a partnership that will allow Samsung to showcase its latest technology and enable millions of fans to capture and share exclusive footage from the tour. In announcing its headline sponsorship, Simon Stanford, Managing Director of Samsung Mobile UK and Ireland said:

“Samsung is thrilled to come on board as the Presenting Partner for the Take That Progress Live 2011 UK Tour and we are very enthusiastic about working with one of the biggest and best names in the music world. We intend this partnership to take Samsung’s position in mobile entertainment to new heights and allow us to market our leading mobile technology and brand to millions of Take That fans, whilst adding value to and enhancing their overall anticipation and enjoyment of the tour. Samsung’s loyal customers can look forward to enjoying money can’t buy experiences and offerings, and an extensive range of exclusive content.”

Take That also release their brand new album Progress on 22 November, with the first single, The Flood, released on 15 November. The album, which has been produced by Stuart Price, comes 20 years after the band first sang live as a group on the TV show The Hitman & Her in 1990.

Progress Live 2011 Presented by Samsung full Tour Dates:

Monday 30 May 2011             Sunderland Stadium of Light
Friday 3 June 2011                  City of Manchester Stadium
Saturday 4 June 2011             City of Manchester Stadium
Sunday 5 June 2011                City of Manchester Stadium
Tuesday 7 June 2011              City of Manchester Stadium
Tuesday 14 June 2011            Cardiff Millennium Stadium
Saturday 18 June 2011           Dublin Croke Park
Wednesday 22 June 2011      Glasgow Hampden Park
Thursday 23 June 2011          Glasgow Hampden Park
Monday 27 June 2011            Birmingham Villa Park
Friday 1 July 2011                    Wembley Stadium
Saturday 2 July 2011               Wembley Stadium
Sunday 3 July 2011                  Wembley Stadium
Tuesday 5 July 2011                Wembley Stadium
Tuesday 12 July                         Milan San Siro
Saturday 16 July                        Copenhagen Parken
Monday 18 July                          Amsterdam Arena
Friday 22 July                             Hamburg Imtech Arena
Monday 25 July                          Düsseldorf Esprit Arena
Friday 29 July                             Munich Olympiastadion

Progress Live 2011 Produced By SJM Concerts and KSE

UK TICKETS ONLY:

Buy Online at: www.ticketmaster.co.uk / www.gigsandtours.com / www.ticketline.co.uk / www.theticketfactory.com

Credit Card hotlines: 0844 847 2011 / 0844 871 8821 / 0844 888 9991 /0844 581 9900

For Hampden Park, T: 0844 847 2011 / 08444 811 222 / www.gigsinscotland.com

Cash sales available at face value at all Venue Box Offices except London – Wembley Arena (for Wembley Stadium shows); and Glasgow – SECC (for Hampden Park shows).

For Official Premium VIP packages call Mark Butler Associates 020 7603 6033 www.markbutler.co.uk <http://www.markbutler.co.uk

Tickets are priced at:

Regional: £55 / £65 / £75 / £85
London: £55 / £65 / £75 / £90

Milan – onsale 10.00pm (tbc)
Telephone: 00 39 02 33020070
www.ticketone.it

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FORGOTTEN GEM: Delta Goodrem “Innocent Eyes”

2003 was in many respects one the prime years of the noughties for music. Not only did it see the mainstream launch of The Black Eyes Peas with their first effort containing a contribution from former child star Stacey “Fergie” Ferguson, but it also marked the year that finally saw the eagerly anticipated and much awaited debut album from Destiny’s Child starlet Beyoncé. Meanwhile, Britney was definitely “In The Zone” as she released her fourth album.

But hidden amidst the American chart domination stood an honest and discreet Australian talent. Having come to public attention in 2002 as the coy and aspiring singer Nina Tucker in “Neighbours”, by 2003 Delta Goodrem had escaped her fictional alter ego and became a singer in her own right.

“Broke the mould musically, in a period of production, Goodrem’s
simplistic songcraft stood out.”

Her debut album “Innocent Eyes” was released in late March 2003 and although it only peaked at number 3 in the UK, I feel this album is one that deserved a lot more recognition. There are several factors that may have caused the lack of interest in Goodrem as a credible singer/songwriter. However, the most obvious is the fact that she was just the latest in a long line of soap stars to turn pop star. If this were to be the sole reason that deterred many people from giving her album a chance, then I believe it is these people who truly missed out on a selection of sublime music.

The album opens with “Born To Try” which was the song used by her alter ego to launch a parallel career in the soap (which saw Nina leaving Ramsay Street to pursue her fledgling success) and as this song entered the real world, the lyrics rang true for a generation seeking success. “Born To Try” also broke the mould musically, in a period of production, Goodrem’s simplistic songcraft stood out.

“Born To Try” was not alone in its pop perfection. As “Innocent Eyes” moves effortlessly from one song to the next, Goodrem is consistent in her catchy and sometimes haunting melodies which contrast with her soft and elegant voice, best demonstrated on the album’s title track “Innocent Eyes”. Goodrem’s composition shows how a pop ballad should be written. But it is her distinct vocal adding an extra depth which makes this the real stand out track on the album.

“Catchy and sometimes haunting melodies which contrast with
her soft and elegant voice”

As well as proving her vocal ability, “Innocent Eyes” is a showcase of her more than impressive writing abilities. Though the album as a whole in a stunning selection, some real gems are there to be uncovered; “In My Own Time” and “Will You Fall For Me” really show an honest and vulnerable side of Goodrem, a quality that is rarely seen in an artist’s debut album.

Goodrem did not work alone and “Innocent Eyes” boasts some impressive collaborations, With Gary Barlow and Kara DioGuardi both on board, it is no surprise that this mid tempo album is full of not only catchy hooks and beats, but has the lyrics to compliment them too.

“An honest and vulnerable side of Goodrem, a quality that is
rarely seen in an artist’s debut album.”

“Innocent Eyes” definitely takes us on a journey from its subtle and understated opening ballads, which sweep and gradually increase to mid tempo pop songs.. And that’s exactly what this album is, a real pop album. When listening to the album, I never question its integrity. It is presented in such a firm and honest way that what you see is what you get. It is rare to find a solid pop album that creates this security. Pop music always feels the need to be new, modern and at the risk of sounding like Simon Cowell, current. As a result, the pop scene is constantly changing, leaving the listener little time to capture a moment before moving on to the next. “Innocent Eyes” is a treat that is not afraid of staying still. I do not mean that its boring and stagnant but it really has taken the time to breathe and grow. I really feel it explores the aural setting it belongs to. Out of this bravery comes a sincere work from Goodrem.

Not only do we enjoy the integrity of the lyrics and cleverly composed songs, but for me the real star of the album is Goodrem’s vocal quality. At the time she was one of the few pop singers brave enough to sing live on television, which just proved that she wasn’t just a studio artist but a live artist too. Never shying away, Goodrem’s vocal range is constantly explored throughout the album, starting with a low and almost spoken start to the album and ending in high melodical bliss with “Will You Fall For Me”, making “Innocent Eyes” an album that really should not be forgotten.

Words: Christopher Hall

VIDEO: Robbie Williams and Gary Barlow “Shame”

So Robbie is rejoining Take That eh? Who didn’t see that coming the moment “Reality Killed The Video Star” proved a relative flop? Stage one is the below duet with former sparring partner Gary Barlow. But as you can see their undying love won out in the end!  Credit where credit is due – the pair deliver a ballad without a sentimental sap overload, though the “Brokeback Mountain” spoof should have surely taken a few more risks? Shame…

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