Michael Hann

I would be surprised if his next tour included arenas: Louis Tomlinson at Wembley reviewed

Plus: Paul Weller performs three of the best British pop songs of the past half-century at the O2 Forum Kentish Town

Stagecraft is not really Louis Tomlinson’s forte: he limited himself to the occasional ‘arena point’ to the back of the room. Photo: Jo Hale / Redferns 
issue 30 April 2022

You don’t need to be a historian of pop to realise that having been part of a huge manufactured group is no guarantee of subsequent success. Most boy and girl band stars, after a brief flurry of passion, are forced to descend into the netherworld of panto, reality TV, and ever-diminishing returns from the actual music. The problem seems to be that the wider world doesn’t have the mental space to accept three, four or five people competing for attention. In almost every case, the wider world can only be bothered to embrace one person after the split, and it’s not always the one you expect.

Gary Barlow – the talent! – was meant to be the solo star from Take That; it turned out to be Robbie Williams. Nadine Coyle was the one who could sing in Girls Aloud, but Cheryl Tweedy got the career. Victoria Beckham dominated the post-Spice narrative, and she barely even bothered with music.

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