Take That were the best boy band in the world. They were the reason I started Boyzone—Boyzone were the Irish Take That. I thought Gary and the band were absolutely brilliant. They appealed to everybody, their records were great and they had everything: great ballads, great up-tempo numbers, amazing live shows—I saw them at The Point in Dublin and the sound, the lights, the choreography, the entire show was just amazing.

Then, of course, you had Nigel Martin-Smith, who did a fantastic job managing them. He made Take That special: people weren’t always allowed near them, they weren’t accessible everywhere, hanging out at nightclubs all the time with every Page Three girl, like so many boy bands today. Nigel made them special and that had an awful lot to do with their success.

Robbie has become successful and he is a great performer…a huge success. I admire his work ethic. He’s a fantastic worker who knows how to appeal to both girls and boys. I have been known to criticise him, but he is so ambitious and I would never underestimate Robbie. He knows exactly what he is doing.

Meanwhile, Take That are still selling out stadiums, which is incredible. Their records are still on the radio, their TV documentary was fantastic and they are still so popular. For me, they totally provided the blue-print for that genre.

They will always be England’s best boy band.

Louis Walsh

February 2006

Introduction

Within twelve months of announcing their ‘reunion’ tour in late 2005, Take That had completed the biggest come-back in pop history. At the time of writing they can sell tickets faster than any other pop artist in the UK; they have topped the singles charts two more times and produced one of the biggest selling albums of the last decade; their own TV special enjoyed one of the highest ratings for an entertainment show in years…it seems there is no limit to what they can now achieve.

How have they done it?

On the surface, there are three key reasons. Firstly, the cultural impact from their original career has proved to have far longer lasting resonance than anyone—probably even the band themselves—realised. Pop is a fickle beast and for a band in that genre to have any lasting validity is unusual. Take That was not a pioneering fashion band, far from it. They were not musical innovators. They were certainly not the critics’ band of choice. Yet what the colossal success of their come-back tour tells us is that they clearly made an indelible mark on British music and cultural history. The broadsheets might not like to think so, but it is a fact. Among the thousands of bands that spilled out of the Nineties, the importance of the majority would fade with time. Take That’s legacy, however, was clearly a sleeping giant.

This pop behemoth was first awakened by an ITV1 documentary and then established on the high streets of Britain by a series of come-back shows that captured the nation’s imagination on an unprecedented scale. The band’s famously energetic and explosive original live shows have been surpassed by a new tour of stunning proportions. Filling some of the UK’s biggest venues was one thing, entertaining in them quite another. They did both with aplomb. Why would so many thousands of people chase tickets to see a band from their childhood? Partly because they wanted a good time; partly because the shows themselves were sensational; but mainly because to millions of people, Take That matter.

Finally, the band has produced an album of new material that is genuinely polished, well-crafted and hugely popular. A

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TAKE THAT NOW AND THEN THE COMPLETE UNAUTHORISED BIOGRAPHY INSIDE THE BIGGEST COME-BACK IN POP HISTORY MARTIN ROACH

Table of Contents

Foreword by Louis Walsh

Introduction

TAKE
THAT
NOW AND THEN

THE COMPLETE UNAUTHORISED BIOGRAPHY

INSIDE THE BIGGEST COME-BACK IN POP HISTORY

MARTIN ROACH