Two years ago, I was present all three nights as Bryan Adams played a memorable residency at the Albert Hall, playing a classic album each night (subsequently released in less than satisfactory fashion on DVD).

I thought that was a glorious one off but last autumn he announced a further trio of dates, again focusing on a specific album- ‘18 Till I Die’, the belated and patchy follow-up to multimillion selling ‘Waking Up the Neighbours’, his most recent release ‘So Happy It Hurts’ and, of course, ‘Reckless’.

This was the first album he ever played in full when touring its 30th anniversary in 2014, but as one of my favourite ever albums and the soundtrack to my life since I bought the cassette in WH Smith as a 17 year old, that was always going to be the night for me this time. Luckily after the shows originally sold out in minutes, tickets became available a week or two before the show, so it was time for a coda to that original memorable trio of gigs.

Bryan Adams’ everyman nature has always been part of his appeal, so there was no big stage show as he and his band took the stage bathed in a purple light not unlike the passage of the Aurora Borealis which had so been exciting people in the days previous. As on record, he opened with ‘One Night Love Affair’: the strength of this song that was never a single a good indicator of what a special album this is, and it was encouraging to see people clapping along.

From then on the order was varied as ‘Somebody’ followed with a slightly different arrangement, the only complaint at this point being that the sound was initially too quiet. Indeed there was room for a couple of tracks that didn’t make the cut, including the title track that never was, ‘Reckless’, later retooled as ‘Dangerous’ by Loverboy, though I noticed a similarity to ‘Run To You’.

Talking of which the track itself, with just a few tweaks from the original, was as rapturously received as you would expect the biggest UK hit from the album would be, and the band milked it with a big pause between the bridge and Keith Scott cranking out his riff that leads into the final chorus. ‘Heaven’ had a rather greater makeover with a keyboard rather than piano intro from Gary Breit and a more modern and stripped back feel, but still with space late on for an emotive solo from Keith.

‘Kids Wanna Rock’ demonstrated that the album did exactly that, then in contrast Bryan recounted how another offcut in ‘Let Me Down Easy’ was donated to Roger Daltrey- indeed I remember buying the ‘Under the Raging Moon’ album in 1985 purely for its two Adams-Vallance songs, the other being ‘Rebel’. It was a solo acoustic version and yet that only highlighted what a strong song it is.

‘She’s Only Happy When She’s Dancing’ featured more audience clapping and participation, while in days gone by Bryan would tease Tina Turner’s non appearance. This time ‘Its Only Love’ was preceded by a more sombre tribute to her, reflecting on how she had given him a big break as a young artist.

After Keith had gone to the ragged edge with his closing solo, it was followed by the bluesier ‘Long Gone’ with Bryan on harmonica and the least known and frankly weakest track ‘Ain’t Gonna Cry’ which turned into a garage-like, even almost punky jam with Keith writhing on the floor of the walkway into the standing area while the others turned towards drummer Pat Steward.

The ‘Reckless’ set ended, as it surely had to, with a joyous ‘Summer of 69’ and I noticed quite how cleverly the band made it even more of a live anthem with pregnant pauses for people to clap along or sections turned over to audience singing.

After a half hour break, my love for Reckless meant the second set would invariably be an anti climax for me. It was a ‘best of the rest’, but having used up those songs was like opening up a packet of assorted biscuits to find the chocolate ones already taken. However it started in impressively rocky fashion with ‘Kick Ass’ (minus the kitsch John Cleese introduction) and ‘Can’t Stop This Thing We Started’ which is always a fun live track with plenty of band movement. The excellent if rather telegraphed power ballad ‘Please Forgive Me’ was a slight surprise while the Ed Sheeran penned ‘Shine a Light’ had an impressive number of people waving their phone lights.

There was a preponderance of newer stuff: they were not all ballads by any means but I do find that his more up tempo recent material owes more to old fashioned fifties and sixties rock’ n’ roll than my preferred styles: examples were ‘On The Road’, ‘Go Down Rocking’ with its ‘Glad All Over’- like riff and the rockabilly of ‘You Belong to Me’ which had Bryan and Keith going down the walkway, accompanied by Sol Walker, surprisingly nimble given he was carrying a double bass.

Cleese may have been absent, but now it was time ‘for something completely different’ as the London Community Gospel Choir, their white robes in stark contrast to the band’s all-black outfits, joined for a couple of songs in ‘Never Gonna Rain’, as R’n’B as Brian has ever got, and a touch of funk on ‘You Lift Me Up’.

His most recent album ‘So Happy It Hurts’ was getting the whole album treatment the following night, yet he obviously believes in it as several songs made it into this set as well, including ‘I’ve Been Looking For You’, ‘Always Have, Always Will’ and the title track which was an enjoyable romp with a big inflatable of the sports car from the album cover dangling from the ceiling.

‘When You’re Gone’ worked surprisingly well as a solo acoustic (then again in my view most things sound better for the absence of a Spice Girl), while ‘Everything I Do (I Do It For You)’ was never my favourite- millions of record buyers disagree!- but always works better live especially when Keith has the space to stretch out for a melodic solo.

Having reluctantly had to miss ‘18 Till I Die’ night I rather hoped its best cuts might make this set – sadly the title track did not, but a fun ‘The Only Thing That Looks Good On Me Is You’ was some consolation while ‘Cuts Like a Knife’, as ever, featured bad jamming and more audience participation on the ‘na- na- na’s.

At this point, as is the form at his gigs these days, the band took their leave to allow Bryan a solo spotlight for the encores, and I was braced for a lengthy one. Introduced by an anecdote about being written on a piano his mother had given the young songwriting hopeful, the simple but universal ‘Straight From the Heart’ gave way to the more personal sentiments of a poignant ‘These Are The Moments That Make Up My Life’ from his last album. I was fully expecting a climax of ‘All For Love’ to finish but instead he rather abruptly took his bow, this being the shortest of the three residency shows.

The ‘Reckless’ segment had naturally been the highlight, but this was still a memorable night, proving how the apparently ageless 64 year old and his band have a catalogue full of great songs and the stage craft to keep an audience enthused without the aid of gimmicks.

Review and Photos by Andy Nathan

Featured Artist: JOSH TAERK

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In 2023 he signed a recording deal with Sony in Canada and released a new single on 15 September.

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Josh Taerk Summer 2024

David Randall presents a weekly show on Get Ready to ROCK! Radio, Sundays at 22:00 GMT, repeated on Mondays and Fridays), when he invites listeners to ‘Assume The Position’. The show signposts forthcoming gigs and tours and latest additions at getreadytorock.com. First broadcast on 9 June 2024.

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Power Plays w/c 24 June 2024

BRAVE LIAISON No Two Sides The Same (indie)
RHABSTALLION Going Nowhere (indie)
THE MERCURY RIOTS LA Girls (indie)
RENDEZVOUS POINT Presence (Long Branch Records)
MINE ROAD Tightrope (indie)
SAINT TRAGEDY Asking For A Ghost (indie)
THE HOME TEAM Walk This World With Me (Thriller Records)

Featured Albums w/c 24 June 2024

09:00-12:00 ATLANTIS DRIVE (Pride & Joy Music)
12:00-13:00 The Best of 2003-2023
14:00-16:00 IANN BRENNAN Getaway (AGR Records)

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