Blake is so much more than just a boy band

FRIDAY, JAN. 20: While manufactured boybands like Boyzone and Take That leave me cold, I was pleasantly surprised by the genuinely talented Blake.

Blake were nothing like the ‘traditional’ modern boyband — the only traits they had in common were good looks and some healthy on-stage banter. No dance routines, no lip-syncing and an abundance of talent.

Following a serene opening with Nella Fantasia, it was a relief to discover they chatted with the crowd and each other between songs, which actually turned out to be almost as entertaining as the songs themselves. They teased each other throughout the show — they introduced the dashing Stephen Bowman as “our answer to Hugh Grant” which wasn’t far off.

The band has played for Royalty numerous times but there was no need for airs and graces in their company  — they just made light of it. They recalled a performance for HRH Queen Elizabeth and they joked that she enjoyed it so much she removed her crown and started waving it above her head. They then persuaded Sir Richard Gozney, who was sitting in the crowd, to do the same and the whole audience joined in.

Some of the more traditional classical-concert going members of the audience might have found it a little frivolous but on the whole most people joined in the fun.

Each singer’s voice had its own positive quality but it has to be said that baritone Jules Knight’s deep, velvety voice with Humphrey Berney’s more angelic tones sounded heavenly together in their Bridge Over Troubled Water duet. Tenor Ollie Bairnes came into his own during the Italian opera songs — he gave a stirring rendition of Puccini’s Nessun Dorma.

When singing their four-part harmonies, Moon River they showcased their real strength.

One criticism was that many of the songs were accompanied not by instruments but by synth arrangements — it worked with some songs but not with others.

Their second song was a rendition of Wild Mountain Thyme which I have only ever heard folk versions of. In my opinion real instruments complement this song better as it is organic and natural. However, the voices of the classically-trained foursome still did the song justice building to a rousing crescendo.

Despite the great singing in Bridge Over Troubled Water — the song was accompanied by cosmic synth sounds and while the pianist Marin Riley played Paul Simon’s piano parts outstandingly, he was sadly drowned out by the synths.

The show took you on an emotional rollercoaster of laughter, musical appreciation and even sadness. Jules dedicated a beautiful song called Bring Him Home to his late father. He was visibly crying throughout the song and I saw a few audience members crying too.

This four-piece act could easily be just four guys stood in a row singing but there was so much more to it than that. There was plenty of on-stage dynamics with the guys switching places throughout and interacting with one another swapping centre stage and engaging with the crowd. The eclectic repertoire was an added bonus with everything from rock and pop to folk and opera.

It was clear that the audience wanted more of them — after their closing song Up Where We Belong by Buffy Saint Marie they received a standing ovation.

They were obliged to return for an encore and I’m glad they did, finishing with a truly rousing rendition of Jerusalem.