Arts Diary: SUMMER POPS Westlife/ Kings Dock, Liverpool.

FROM boys to men: six years, 12 number ones and 80 million records after their inception as a boy band, the fully matured Westlife remain the most successful male vocal group ever.

They have outlived institutionalised pop icons The Osmonds, Take That, NSYNC, Boyzone and even The Jacksons. It's a well known fact that boy bands are a pop species with a limited shelf life, yet Westlife continue to captivate the adoration of a notoriously fickle audience.

Even after the departure Bryan McFadden in March, Westlife have adapted and evolved into the four-piece which brought fans to Liverpool last night in their droves.

From the opening of first song Turnaround, the screaming reverberated around the walls of the marquee like a vocal Mexican wave, and did not stop as the lads went on to perform titles spanning their four studio albums.

The crowd went wild as Westlife wended their way through the wistful acoustic balladry of Flying Without Wings, 70s favourite Mandy, and a crotch-thrusting rendition of Wham's Jitterbug.

Any slightly more infirm members of the audience lost their senses completely, and as emotions ran high there were the trademark tears and hysterical euphoria expected from avid boy band fanatics.

The pervading mood was that of rapturous appreciation, and just from watching the stage it was obvious why -- here was a group of dedicated talented performers working hard to justify their fans' support.

The simple reason Westlife have been more tenacious than any other boy band is simply because they produce great music, and give it their all.

And if the reaction of the crowd to the last act of this year's Pops -- they play again tonight -- is anything to go by, the parting words of a band member will ring true: Westlife are unbreakable.

CAPTION(S):

Westlife in svelte mood at the Kings Dock last night