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I still remember when I first heard George Ezra’s voice. It was accompanied only by the minimalist picks of a guitar line. Bluesy and moving it instantly made you take notice. Six years have passed and although his voice remains distinctive, it now bathes in the indulgence of cheesy brass flurries and collaborative clapping. Whether you miss the Ezra music of the past or not, it is hard to argue that his clear move to the centre of pop music has been bad for business.Two number 1 albums. Sell out arena shows. Several universally known singles as well as success in America which is only comparable with Ed Sheeran. George Ezra has come very far both musically and commercially since I first noticed him in 2013. Tonight, Glasgow’s most historic venue will see its often pish covered mosh-pits exchanged for the bright summery music of one of 2018’s biggest names.He prances out on stage when the lights dim a midst the screaming from the audience, his orchestra sized band follow. They jump straight into single Don’t Matter Now. A style of track that once upon a time I would never have associated with George Ezra, it’s catchy and a crowd pleaser even if it does sound basic and, lyrically, miles away from what he is capable of.One thing that hasn’t changed over the years is his beautiful delivery of Barcelona. The riff melts into his voice, standing out from the rest of the set as the delicate vocals are left alone and not diluted by trumpet blows or chant-like backing vocals.He delivers recent hits Paradise and Shotgun perfectly, although the delicacy of his voice seems completely lost on these tracks – both on the album and in concert. Nevertheless the band are tighter than tight as Ezra acts as a conductor for the crowd.Another thing that seemingly will never change is his storytelling before he plays songs. I remember first hearing him explain the process of song Leaving It Up To You when I was younger and being completely enamoured. Although the song rarely appears in sets anymore the storytelling aspect of his shows fill me with nostalgia. His Bristol accent and tales of travelling are still as endearing as ever and something many of his contemporaries wouldn’t be able to get away with.The tender Hold My Girl and brightness of All My Love are the clear highlights from songs off his Staying At Tamaras album. Hold My Girl shows his music isn’t based around summery pop hits and All My Love shows a depth of soulfulness that doesn’t appear in the rest of the album.Self-proclaimed “forgotten one” Song 6 makes a more than welcome appearance. The sweet and genuine lyrics take you back to the small venues he used to play in. Classics Blame It On Me, Budapest and Cassy O’ are still played as perfectly as ever although they are spruced up a bit by his seemingly ever growing band. Although he plays the song that first drew me too him, Did You Hair the Rain, he does so without the acapella introduction. Perhaps this exemplifies where his music has gone, there isn’t enough time in the set for the 40 second intro that used to give me shivers.Although his pop hits almost definitely make my writing slightly sour, I can’t blame him for it. He is just that, a pop artist. Whilst his music is moving further and further away from my taste – confirmed by his Justin Bieber cover last night – he shaped how I viewed songwriters from the past and present. He now sells out arenas that several of Britain’s biggest bands fail to fill, this was most likely his first and last visit to Glasgow’s Barrowlands.