REVIEW: Bryan Adams still Waking Up The Neighbours at Sheffield Motorpoint Arena

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GUITAR man Bryan Adams is still Waking Up The Neighbours 20-years after his iconic album was released, writes Graham Walker.

And judging by his latest live show there’ll be no sleep for the next 20-years.

Waking Up The Neighbours: Bryan Adams at Sheffield Motorpoint Arena.      Picture: Glenn Ashley.

Waking Up The Neighbours: Bryan Adams at Sheffield Motorpoint Arena. Picture: Glenn Ashley.

Raw, rasping and raucous - but above all melodically loud - at his very best Adams has the greatest rock voice on the planet.

Springsteen fans will have something to say about that.

But not the 10,000 music lovers who experienced the Canadian rocker at his peak this week at Sheffield’s Motorpoint Arena.

He belted out hit after hit, playing special tribute to Waking Up The Neighbours, including All I Want Is You and Can’t Stop This Thing We Started.

The Arena choir joined in, of course, on the biggest hit from the album, his Robin Hood movie theme (Everything I Do) I Do it For You, which spent 16 weeks at number one, the longest in British chart history.

Adams went back further in time, to showcase the songbook from his 30-years in a two hour-plus show that included highlights Summer of ‘69, Run To You, Back To You, 18 ‘Til I Die, Cuts Like A Knife and The Only Thing That Looks Good On Me Is You.

Sheffield song-writing partner Eliot Kennedy was given a name-check before Adams got a girl fan on stage to sing the Mel C part of the global smash duet they wrote, When You’re Gone.

“Eliot couldn’t be here tonight, he’s doing some TV show,” quipped Adams.

Some show in deed. The big guy is the Talent Development Director on this year’s X Factor. But you would expect nothing less from a man who shares his songwriting time with Adams and a certain Gary Barlow.

Other highs, streamed onto a massive screen which filled the back of an otherwise sparse stage, included Mickey Curry swapping his drums for pots, pans and upturned buckets during an impressive drumming demonstration and fast-fingered guitarist Keith Scott proving he can still play better than anyone else with the guitar on his head, back, or swinging around his neck, on It’s Only Love.

This was rock and roll for the masses and especially those of a certain age who went home waking up the neighbours to just one more verse of 18 ‘Till I die.