Här är en recension från Brighton, ja det blir många recensioner men vi tänkte att ni som har varit på de olika konserterna kanske skulle tycka om att läsa vad som skrivs om just den konserten du var på. För att se fler otroligt snygga bilder som den nedan tryck på KÄLLA.
McFly were hard to miss back in the mid-noughties. They were everywhere. I must have seen them at least 150 times when I was sat eating my breakfast as a kid, jumping around on TV with their crazy hair and open mouths. An excitable young lot to say the least. Now look at them, all grown up with tattoos, shorter hair but still with the same sense of childlike naivety and worriless devotion to life that they always had. Our joyful and cartoon-like band have gotten old and they make me feel even older.
With this aside, I think it is only fair to recognise some of their new songs as being more mature too and in places even really good. Yes, I said it. Really good. McFly are an important band. We need them. They need us. For a few hours I forgot who I was watching and I was more struck aside with the air of a real band playing real songs. Perhaps I was fooled, I mean, I am pretty sure they still don't write or produce their own music. And so what!
Their gig was engulfed in showers of screams which were good enough to penetrate not only my body but my trusty ear plugs and I was nearly blown up twice with their flames and confetti blasting machines. A tighter show than you have ever seen before and cameras which projected screaming girls onto the screens made the Brighton Centre feel like Wembley. They loved it. Would I see them again? No probably not, but it was nice to know they were real and it was nice to know they cared. It can't go on forever though.
Här är en recension från The Star där de har skrivit om McFLYs första konsert på ABOVE THE NOISE tour i Sheffield:
By David Dunn Published on Monday 21 March 2011 10:58
THE world needs McFly. In a business cursed by Autotune and wannabe stars spying X Factor as the path to success, these four young men continue to buck the ‘boy band’ trend by embracing the G-word: guitars.
They’ve had to adapt, evolving from the teen euphoria of early hit 5 Colours In Her Hair to the slick pop of Party Girl, here opening the kick off date of their Above The Noise Tour.
But McFly remain a pop act with a rock band fighting to get out, manifesting itself in Quo-style feet apart guitar stances and Danny Jones’s sleeve tattoos.
Then there was the metal reworking of Tinie Tempah’s Pass Out, a spark of genius that saw Danny go Linkin Park for arguably the night’s highlight.
With this show happening immediately after bassist Dougie Poynter’s rehab, there was a palpable sense of gratitude that the quartet had returned to Sheffield with the likes of Lies and All About You. And while numbers were down, there was no skimping on fireworks or a platform that allowed them to play above their fans in between launching t-shirts into the crowd.
The demographic may be a curious one – kids with flashing bunny ears to Hollyoaks doubles and mums – but the McBlokes seem to be having as much fun as ever, while showing pop addicts what an instrument looks like.
Party Girl singeln har fått bra respons från kritiker och här är en recension från unrealityshout.com.
I'd just like to say that now I'm back in education (Year 12), my Daily Reviews won't be so daily anymore. Anyhoo, shall we crack on?
A musical hiatus, in my eyes, constitutes a problem for both the artist and myself, particularly if I like said artist. On a hiatus, a musical act takes a lot of time out - usually more than the standard two/three/four years it takes to produce most albums - like The Killers are doing now, leaving a member of the band to go solo or for every member to do their own thing, musical or non-musical, away from the scene.
McFly were never that rated very high in my books when they stormed onto the 'scene' in 2004, and all they way through their four previous albums I felt like nothing they did really jumped out at me; it was typical boyband pop that ticked all the commercial boxes, but never really jumped out as something to write home about. Of course, they were the epitome of commerciality: they had the looks, the great voices, the teen girl fanbase, they played their instruments well, and produced very catchy songs. It all paid off. When McFly announced their hiatus/indefinite split, they left the airwaves with 7 #1's, 15 Top 10 hits, 2 multi-platinum #1 albums, and a BRIT Award.
Not to darken their doorway but despite all their success, they'd only produced one song that I liked: 'Lies', so as you can imagine - I was hardly distraught when they took their hiatus, in fact: I didn't even notice.
So the 'problem' ball wasn't in my court upon the comeback from their hiatus - it was in their's. And the ball consisted of how times have changed since inoffensive, cheery pop songs topped the charts; right now it's all about charity singles, reality singles, or thigh, thigh and more thigh.
It's like the charts have gone through puberty on a rundown council estate. It starts in 2000, innocent enough, a few bubbly songs and some controversial ones that really didn’t know what they were doing in the first place. Then it gradually grows up and, ten years later, it's strutting it's egomaniac, manufactured popstars like a street-walker and selling nothing but sex. But if sex is what sells, why not jump on the band-wagon?
This was McFly's problem - should they stick with their original sound or sex things up a bit and add a few synths to appeal to a fresher market?
Literally one second into 'Party Girl' tells us this is a far cry from the relacklustre 'Obviously', or even the rampaging guitars of 'Lies'. Opening to a hugely listenable riff that sounds like a cross between Lady GaGa's 'Bad Romance' and The Jackson 5's 'Can You Feel It?', the layering is clearly more complex than a simple vocal, lead guitar, rhythm guitar, and drums set-up we’re used to. It's all been replaced by and pulsing synth, THAT riff and a drum machine on Red Bull.
The verses stomp along to a beat that sounds like something GaGa would be proud of, with syncopated chords striking their way through to the foreground just to be heard above the production that has more going on than Ashley Cole's bedroom. Just when you think the whole party can't get any bigger, the chorus arrives with Danny's vocals meshing effortlessly into the synth-driven proceedings, and with Tom backing up every chorus and instrumental who THAT riff, this song is undeniably one of the best electropop songs of the last year.
Of course, such a jump into new territory warrants the occasional thorn in the foot: Tom's vocals in the bridge do appear to sound as home as Hitler would in a Mosque; not quite working with the darker, heavier sound but maybe that's just because I've always found his vocals a bit ropey, or it could be the vocoder because on a live performance, McFly shut the place down.
The video is pretty amazing too. Extending the heavier, sexier sound, the boys are getting their kits off for the promo clip which is a far more Gothic, vampire-esque fantasy than anything we've ever seen; yes, it's even better than the video for 'Lies'. With plenty of blood imagery, sex scenes, and just a general turn towards the supernatural, this video is as relentlessly entertaining as the song.
Of course, this is the unedited video; the one that's not shown on TV; coz i iz well hard innit.
It seems McFly have drastically changed their image, like REALLY sexing it up, and with the song, they’ll clearly be wanting to appeal to a whole new demographic as well as their older ones. The whole song boasts more musicality than anything we’ve heard from McFly - the modulation in key towards the end, the syncopated synth-stabs, and a vocal riff that will be as memorable in ten years time as it is today; this songs triumphs above my prejudice of McFly when I heard of their comeback, and whilst many are still straddling a nice, cosy fence, McFly have won over a new fan here already.
End Note: This song is up against some seriously fierce competition for #1 on the week it's released. It’ll have to fend off comebacks from The Script with 'For The First Time', plus the dubiously received 'Drummer Boy' from Alesha Dixon. But for me, it's fiercest competition is Alexandra Burke's 'Start Without You'. It's fair to say that week will be the most interesting listen in on Radio 1 for a VERY long time, because if McFly pip Alexandra, it'll be my first five star song to reach #1 since 'Bad Romance' itself, way back at the very beginning of 2010.
Rating: 5.0 STARS
Download: September 6, 2010 (OUT NOW)
Featured Album: 'Super City'
Har alla sett 'The banned version' av Party Girl videon? Måste bara säga att den som lägger upp McFLY's videor på Youtube väljer väldigt intressanta taggar... ;)
Här är en recention av en tjej som heter Samantha som var på Wigan när McFly spelade där hon berättar om det var att köa och att se dem live.
Källa: Fleckingrecords
“I have to admit, sitting in a field for hours on end is not my idea of fun, but I’ve seen what these McFly fans are like first hand and and I wanted a good view of the boys then sitting in that field was my only option.
When I arrived at 2.30 pm (it wasn’t due to start until 8pm!) there was already a fairly long queue. At the very front were the dedicated (or crazy – your choice) French fans who had camped out overnight. Not only were there French fans, there were Americans, Brazilians and several other dedicated fans who had travelled from far and wide just to catch a glimpe of their favourite guys in a field in the North West of no-where (otherwise known as Wigan). I can’t help but think these people are slightly crackers as well as dedicated.
Before the gig started there was drama drama drama (as is expected with girls all fighting for a place in the young lad’s hearts) when one girl got a nice shiner from another who accused her of queue jumping!
Support band TwentyTwenty were very McFly-esque. Three quite hot guys who were actually quite good – the best support act of McFly’s that I have seen so far, and some of the superfans already knew them and their songs.
After three and a half hours of waiting in a field and a further three hours crammed in a crowd of overly-excited girls and boys, McFly finally made it to the stage. Danny Jones, Harry Judd, Dougie Poynter and Tom Fletcher strutted on stage to a chorus of screams from their fans and burst straight into song, singing One For The Radio. Sounding the best I have heard them in ages, I couldn’t help but jump around with the people surrounding me – trying to avoid serious injury in the process.
They played the Radio:Active set list (for the last time) which I, as well as others I expect, was feeling pretty let down by as I’d seen it twice before, but they played it really well, throwing in a few extra songs like The Heart Never Lies which pleased the fans very much. Tom and Danny also played Too Close For Comfort together, which is one of my personal favourites, along with Dougie performing You Gotta Fight For Your Right which seemed to please everyone.
The boys teased us by asking if we wanted to hear their very long awaited new music. The crowd started chanting “we want more” as Dougie played a snippet of bass, giving next to nothing away. Danny distracted fans by playing some jazzy music, singing “chocolate” and doing a funny little dance which the crowd loved and could almost be called sexy.
As always, the foursome finished up with everyone’s favourite, Five Colours, which always leaves the fans happy and excited – myself included.
Overall, the four of them looked hot, sang the best I have ever heard them sing, added a few brilliantly chosen songs to the set list for a nice little surprise and kept their fans (even the ones that were doubting them for making them wait so long for new material) very happy. I think the band, and even the support band, should be proud of themselves for putting on such a brilliant show, a show that was well worth the long wait.
McFly’s fans are happy for now and hopefully the band will bring out the new stuff very soon, before the magic of ‘Gigan’ wears off and the fans start getting agitated again. Bring it on!”
