Will Young, Nottingham Royal Concert Hall, Friday November 28
Having plied his trade on the arena circuit for the past few years, Will Young has returned to theatres and concert halls for his current tour. For his fans, it’s a chance to see him in a relatively more intimate setting. For Will, it’s an opportunity to showcase his skills as a singer, rather than coast on his status as a pop star.
If last night’s show was any fair measure, then there’s still some work to be done. An unsympathetic sound mix tended to bury his voice in the arrangements on the more uptempo numbers, most of which were stacked up in the first half of the show. This did his delicate, reedy voice no favours, leaving him sounding somewhat lacking in presence and authority.
The breakthrough came with the ballad You Don’t Know, performed to the accompaniment of a single guitar. At this point, Will seemed to find his focus, giving a sincere performance which carried emotional depth and weight. This stripped down mood was carried through to Let It Go: the title track from Will’s fourth album, and one of the strongest songs on there. Following the poor chart performance of current single Grace, it has the potential to restore his hit-making status.
From this point onwards, Will was on safe ground. Bounding around the stage in a loose, scooped neck T-shirt and a pair of impossibly tight trousers that looked more like leggings, he looked dressed for a dance class rather than a concert performance – but this casual attire suited his relaxed, informal manner. The banter flowed, as cheeky calls from the audience were answered with witty ripostes and off-the-cuff anecdotes. This wasn’t an evening for considered artistry and solemn song craft, but a light-hearted coming together of a much-loved personality and his adoring fanbase.
The evening’s most bizarre moment came with the encore, which saw Will in fluorescent gloves, making “jazz hands” and throwing all manner of unlikely shapes, for a tango-flavoured Grace Jones cover (I’ve Seen That Face Before). Sanity was restored for the inevitable closer Leave Right Now: the only one of his four chart-topping singles to be performed (All Time Love being the other major omission), and still his most enduring classic.