Marti Pellow took his Scottish fans back to where it all started at the Hydro on Saturday night by performing Wet Wet Wet’s debut album in its entirety.
Back by the talented Love to Love Orchestra, the Clydebank crooner looked sharp when he appeared on the Finnieston stage wearing a three-piece navy suit and cool shades.
Launching into Wishing I Was Lucky, he beamed with his infectious Pellow smile before demanding, “Come on Glasgow, Let’s see those hands.”
In 1987, the solo star was just 22 when the band he has since departed released Popped In Souled Out. Today more than three decades on at 58-years-old he sounds as incredible as ever with smash hit Angel Eyes proving to be the perfect track to showcase his voice.
Dancing throughout the set, he upped the tempo with Sweet Little Mystery while Temptation sent fans into a frenzy.
And that was just the first half, with the rest of his back catalogue entertaining after the interval.
From Lip Service to Sweet Surrender, he teased the best of the 90s before dropping the song all his fans were waiting for – Love is All Around.
He said with a smile, “Do you remember that song from the movie?” before belting out the 1994 Troggs cover which featured in the Hugh Grant blockbuster Four Weddings and a Funeral.
Clearly in his element in front of his home crowd, Pellow then brought the party atmosphere with a cover of the 1979 disco track by McFadden & Whitehead, Ain’t No Stopping Us Now.
The singer is charismatic, charming and clearly loves being on stage. His voice is still one of the most unique ever to come out of Scotland and it allows him to put his stamp on any song.
Goodnight Girl showed off this uniqueness beautifully especially with the orchestra complimenting his tone and range.
Wearing a kilt, after a quick costume change, he bid his farewell saying: “It has been an absolute pleasure to hing out with you tonight.
“It’s great to be amongst my own.”
He then asked: “Can I come back and dae this again?”
Finishing things off, he dived into With a Little Help from My Friends – sung in the Joe Cocker arrangement – and the results were simply phenomenal.
