McFly brought out Rou Reynolds from Enter Shikari at their show at London’s Alexandra Palace last night (October 27). Watch the footage below.

READ MORE: The five most wholesome moments from McFly’s set at Glastonbury

Reynolds joined the group for a performance of their 2008 song ‘Corrupted’, originally released on their studio album ‘Radio:Active’. It appears to be the first time that the two artists have ever collaborated in public.

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The show was part of McFly’s current ‘Power to Play’ tour, and it featured another guest in the form of James Bay, who joined McFly for a rendition of ‘Forever’s Not Enough’ from their 2023 album ‘Power to Play’. McFly then joined Bay for a version of the latter’s ‘Hold Back the River’.

The Enter Shikari connection is not the first time that McFly have mixed it up with heavier rock acts: in 2020, Blink-182’s Mark Hoppus featured on the group’s song ‘Growing Up’.

Earlier this week, Enter Shikari called for solidarity and progress in securing the future of the UK’s grassroots music venues, urging fans and gig spaces to “show the Tory government and the landlord c**ts that our culture of live music is not for sale”.

“It is guaranteed that we would not be where we are today in our career, without grassroots venues – which is why it was a no-brainer for £1 of each ticket from our biggest shows to go to support small venues,” the band’s drummer Rob Rolfe told NME. If you ask me, this is something that bigger venues should already be doing anyway.”

Enter Shikari also recently announced a 2024 UK arena tour, in support of the Music Venue Trust. They will play seven shows in February, in Leeds, Nottingham, Edinburgh, Manchester, Cardiff and London.

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The St. Albans band released their seventh album ‘A Kiss For the Whole World’ in April. In a four-star review, NME said: “Amid the bleakness of cost-of-living-crisis Britain, the shot of joy it provides is a welcome tonic, particularly from unexpected quarters. Shikari have already mastered the feeling of the world retreating on their last record; this time, they’re positioning joy as an act of resistance.”

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