At times it is easy to forget tonight's concert is a benefit for Co-operation Ireland. That said, the balance of minimal artist banter for the worthy cause is addressed by an over rambling Peter Mandleson who ensures we all manage to catch up on a little much needed sleep during an extended session of political self promotion. The majority of the audience are understandably keen to let the music do the talking.
Pops favourite chipmunks on speed quickly bring a breath of less stagnant air to the proceedings. They may be struggling for serious chart action (since dumping their manager last year) but B*Witched's dedicated fans ensure their appearance kicks off with the loudest squeal of the night.
Nursery rhyme-tastic 'C'est La Vie' kicks off their 30 minute aerobic workout. The non-stop hit package shows what their self indulgent arena tour last year could, or should have been about.
'Jesse Hold On', 'Blame It On The Weatherman' and 'Rollercoaster' remind us why the former queens of denim are where they are now, whilst the blundered intro to 'I Shall Be There' shows us why they might not be there for much longer.
A hyperactive 'Jump Down' closes the set and makes us wonder why the B*Witched girls are trying so hard to be all things Spice.
A not-short-enough interlude of Finbar Wright interupts the double whammy of Celtic heavy hitters. Their enchanting female vocalist gets occasionally interrupted by bizarre Oliver Reed-esque ramblings of a silver haired vocalist with his hands in his pockets who it seems gatecrashed the party for the night.
Persistent rumours of surprise performances from the likes of Westlife and Van Morrison prove unfounded as The Corrs make their delayed entrance for the finale of the night.
Taking a break from recording their third album it's hits all the way, aided by an 18-piece orchestra adding depth both visually and acoustically.
'Only When I Sleep' cranks into life sweeping the hall with its seductive melody.
A shaky syncopated intro to 'What Can I Do' hints that the orchestra had been rehearsing on their own. But all is forgiven (not forgotten) as the heart melting sound of Andrea Corr drooling the line 'love me' sweeps over us. We're suckers, but at least she knows how to hit us every time.
Variety comes in the form of a rootsy acoustic section bringing us 'Runaway' and 'Old Town' to show the lesser Celts how it's done.
Before we know it 'So Young' brings everyone to their feet for a begrudgingly premature close to the crowd-pleasing set. How could we ever resist coming back for more?
