The best power ballads

‘It’s just the most preposterous song. Like the final “Lord of the Rings” film, there are just so many climactic points. You think it’s finished and it keeps coming back. We play the full 12-minute version. There’s no need to edit perfection.’

‘This is a big starting pistol for the confetti canons. There’s no chorus until about three minutes in, but it’s that good that we can wait for the pay off.’

‘It’s got this almost medieval folk song aspect and when the harmonies in the middle eight kick in…it’s just incredible. Every time we play it, I get blown away.'

‘From the opening three notes, people know that this is what they came for. Those vocals! Bonnie’s on the verge of a nervous breakdown, there’s nothing else like it. The floor is covered in white confetti by the end of this song.’

‘Such amazing production and half the song is just the swirling outro. No way you could play this early on, we always end the night with 15 minutes of  ‘double rain’ – this and Guns and Roses "September Rain".’

‘You can hear the crowd recognise it in between the third and the fourth tom of the drum fill at the start. It’s unabashedly romantic. It’s that sentiment everyone wants to hear. Phenonmenal.’

‘This was the soundtrack to summer 1991, you could not escape it. We play the full-length version. You think it’s finished and then there’s this massive guitar solo and we storm back in and, fucking hell, it’s a rollercoaster of a song.’

‘He’s not the world’s best singer but oh my god the lyrics on this one, we’ve all been there, literally bleeding. It’s brilliant – like watching a giant lemon being squeezed with all the sadness and anger and hope dripping out.’

‘It’s Freddie with the ultimate pomp, the curtain call. It’s an incredibly bombastic track with a giant chorus. Peak Freddie.’

‘Her vocal is incredible, she’s just laying herself open and at the climax everyone is screaming at the top of their lungs. Mindblowing.’