What can I say? Flying cars, floating boxing gloves, and a heartfelt finale—I fear I have become a massive Bryan Adams fan.
I’d be lying if I said I wasn’t expecting this performance to be very similar to Frankie Valli’s from 2023. You know, the almost ventriloquist act with overly enthusiastic backing singers doing most of the work. However, I am taken by surprise when he runs, yes, I said runs, on stage with his band and opens the show with the lead single off his new album ‘Roll with the Punches’. The atmosphere is electric. The crowd are screaming, lights are flashing, and people are on the edge of their seats. I haven’t been to a gig for a while, so I’m just taking in the atmosphere and observing when a giant inflatable boxing glove appears from behind the stage and makes its way around the arena. I have never seen anything like it. Maybe it’s just me with my limited gig experience, or maybe this is a common thing that occurs; either way, it’s fascinating and a brilliant way to keep the audience engaged, especially those seated higher up.
He continues the set with hits like ‘Run to You,’ ‘Somebody,’ and ‘18 ’til I Die’ before briefly welcoming the audience with a simple “Hello, Manchester.” He then transitions to the slower, more melodic songs, such as ‘Cloud Number Nine’ and ‘Heaven,’ among others.
There isn’t a lot of audience interaction during the concert to begin with, which is surprising considering it had been a while since he last performed in Manchester. But it seems he just needed time to warm up, it’s not long before he’s telling stories of his childhood and walking down to the front row to sing to them. It is heartwarming to see that even though he is decades into his career, people still love him just as much as they did when his solo career began in 1980. It’s nice to see him genuinely enjoying himself with his band members, including Keith Scott: lead guitar, Pat Steward: drums and Gary Breit: keyboards. You would think that more than 40 years down the line, he would have fallen out of love with performing, but there is no sign of that happening tonight.
The set list is well-structured, featuring songs from six of his albums, along with several covers, audience requests, and tributes. One notable tribute is ‘Whiskey in the Jar’ by Thin Lizzy, along with a heartfelt homage to Tina Turner with ‘It’s Only Love,’ and ‘Can’t Take My Eyes Off You’ by Frankie Valli – ironically.
He then performs ‘Have You Ever Really Loved a Woman’ after sharing a story about a time he was at a Mexican restaurant where a mariachi band played this song for him without realising that he was the song’s writer. It was baffling to me; how could they not know they were performing for Bryan Adams? It seems like it should be the other way around. As the first chorus hits, the cameras pan out to the audience, revealing hundreds of couples confessing their undying love for each other, reminiscent of the kiss cams at American basketball games.
I appreciate that he has multiple cameras focused on both the audience and the band throughout the entire performance. I was sceptical about the purpose of all the cameras, as they are not just standard film cameras; some are rigged and operated manually, while others are on tracks on stage, capturing the audience’s reactions. This element added a personal and intimate touch to the experience. I have good seats, so I can see everything clearly, but having been situated at the back in the middle for a Paramore gig in 2021, I understand how limited your view can be. It was thoughtful of him and his team to consider this.
As the opening notes of ‘So Happy It Hurts’ ripple through the arena, a flying car emerges dramatically, gliding above the crowd. However, it quickly becomes apparent that the team is grappling with the controls; the car spins unpredictably, veering off course before finally being guided back behind the stage. I can’t help but picture the sensational headlines that would follow: “Bryan Adams Crushed by Car During Arena Show!” Thankfully, it all ends without incident, leaving a sense of relief in the air.
Then, the moment that I, along with 21,000 others, have been eagerly anticipating arrives. The unmistakable intro of ‘Summer of ’69’pours through the speakers, and an electrifying hush falls over the crowd. Spotlights dance across the venue while vibrant blue lights illuminate the stage, igniting an atmosphere thick with anticipation and excitement. As Adams strides confidently up and down the stage, the audience can’t help but clap along to the infectious beat, their enthusiasm palpable. He pauses at centre stage, a charismatic presence, and the moment he launches into that legendary chorus, it’s as if time stands still. The collective voice of the crowd erupts, harmonising perfectly with Adams, creating a powerful, unforgettable moment that reverberates within the arena. Each note carries the nostalgia of summers past, uniting everyone in a shared celebration of music and memories.
He performs one last song before gathering with his band at centre stage. They take a bow, expressing gratitude to each member, especially his guitarist, Keith Scott, who has been with him since 1976. Afterwards, Scott, Steward, and Briet exit the stage while Adams makes his way to a smaller stage at the back of the arena. He plays “All For Love” after thanking the audience and wishing them well.
As the final notes of ‘All for Love’ echo through the arena, Adams stands beneath a sea of lights, grinning like a man who still can’t quite believe he gets to do this for a living. The crowd roars its approval, voices hoarse from singing along all night. It’s a triumphant, joy-filled end to an evening that proves Adams isn’t just riding on nostalgia—he’s still every bit the showman, still delivering hits with heart, humour and undeniable passion. Manchester leaves with its spirits lifted and its ears ringing, reminded once again of the timeless power of a great rock show.
