The atmosphere before the show was fantastic: vintage pre-show songs such as Johnny B Goode and Tutti Frutti had the audience in a buoyant mood, and built an electric sense of anticipation. The on-stage screen featured clips of Adams practicing his punches in a boxer’s robe, emphasising the theme of the tour in an audience-friendly advertisement of his new album - setting the mood without feeling forceful. The buzz rose to a roar as soon as Adams took to the stage. There were no frills, no fuss, as he was dressed simply in a t-shirt and jeans and wielding a sunburst bass guitar. The first song was new title track “Roll with the Punches”, a defiant and rocking opening statement of resilience. Adams then plunged straight into the classic “Run to You”, with its iconic intro riff delighting the audience (most of whom probably remembered the song’s release in 1984).
It was a setlist made up mostly of well-loved hits, despite Adams being on tour to promote his 17th studio album “Roll With The Punches” (which will be released on the 29th of August 2025). That being said, his three new singles were subtly slipped in and didn’t hinder the flow of the performance - which is the danger that well-established artists risk when promoting new material to a nostalgic audience. In fact, the tracks went down well with the crowd, who ended up singing along with the on-screen lyrics despite seeming mostly unfamiliar with the songs. There was also a sprinkling of tastefully-selected cover songs, which was unexpected but fantastic. One of my favourite moments of the show was a rock’n’roll medley of Adams’ “You Belong To Me”, Elvis Presley hit “Blue Suede Shoes”, and the iconic Beatles song “Twist and Shout”. I was lucky enough to have standing tickets, and trust me when I say that the place was bouncing!
Adams’ band deserve huge recognition too. Lead guitarist Keith Scott (who first began working with Adams in the 1970s) was phenomenal and regularly stole the show with his blazing solos, whilst also providing a solid rhythm backbone by nailing legendary riffs such as “Somebody” and “Can’t Stop this Thing We Started”. Likewise, drummer Pat Steward has been part of the band since 1984, whilst keyboardist Gary Breit is the relatively new kid on the block, having toured with Adams since 2002. Together, the band delivered a knockout show - there was no need for extravagant backing dancers or indulgent pyrotechnics, because the band and the music were enough to almost lift the roof of the Motorpoint Arena. I also loved the lighting of the show, as often the audience were bathed in bright white beams - this built a real connection between the crowd and the performers, as it felt as if they could see us as well as we could see them!
Of course, though, Bryan Adams was the star of the show. His trademark husky vocals were as powerful as ever, despite him now being “18 going on 66”, as he proclaimed during the song “18 Til I Die”. He clearly cares about the audience and was personable and charismatic, whilst also coming across as very humble and down-to-earth. Throughout the night, he made reference to people in his life who had supported him and shaped his career, and honoured them as he introduced songs. Touchingly, he played the song “It’s Only Love”, which he had originally duetted on with the late Tina Turner. Adams described how he accompanied Turner on her 1985 tour of the UK and Europe at a time when he was relatively unknown outside North America, and he appears to attribute his lasting UK success to her. He also dedicated the tender ballad “Please Forgive Me” to his mother, and the joyous “Shine a Light” to his father.
Mostly uplifting rock'n'roll, the show which through Adams’ extensive back catalogue with beefy electric guitars and emphatic vocals. However, there were quieter moments too, such as the acoustic section around mid way through the 2 and 1/2 hour long set. This featured just Adams and an acoustic guitar, illuminated by a single spotlight that pierced through a dark stage. I was surprised and delighted when he began to sing “Whiskey in the Jar”, the classic Irish folk song made famous by the Dubliners and Thin Lizzy. Adams’ version was stripped down to its bare bones, with plaintive harmonica fills in between the verses. Then followed one of my favourite songs: “When You’re Gone”, originally a duet with Melanie C (better known as Sporty Spice). Despite only being accompanied by an acoustic guitar, this was energetic and great fun to sing along to.
The show consisted of relentless music, without breaks or costume changes. However, a lull came when Adams announced that he would be playing audience requests. It turns out that before the show, audience members could submit songs that they’d like to hear (although I didn’t realise this). Reading from a folded piece of paper from his back pocket, Adams decided to play “Do I Have To Say The Words”, followed by “Kids Wanna Rock”. This again created a sense of mutual respect between Adams and the crowd, as it felt that he really valued us, and that we were getting a one-off show.
After this, Adams shifted to the final part of the set, laden with heavyweight hits that were brilliant. First was the legendary “(Everything I Do) I Do It For You”. Written for the soundtrack of 1998 blockbuster “Robin Hood: Prince of Thieves”, it was special to hear it in Nottingham, a city whose heritage is of course shaped by the mythical tales of Sherwood Forest and Robin Hood. The single was recorded-breaking, spending 16 consecutive weeks at UK Number One, and I am sure that hearing it live was a highlight for many people in the audience (myself included). At one point during the song, Adams descended from the main stage and engaged with the crowd, giving fist bumps and high-fives across the barricade. Then came “Back To You”, followed by “So Happy It Hurts”, the title track of Adams’ previous album. For this song, an enormous inflatable car rose from backstage and floated over the crowd, which was a unique touch. It paralleled the inflatable silver boxing glove which had been airborne at the very beginning of the show.
Then came the moment I’ll never forget: the instantly recognisable opening chords of “Summer of ‘69”. Released as a single in June 1985, the song has become one of Adams’ most enduring hits, transcending generations and cementing itself as a staple of summertime. It filled the arena, uniting everybody in the audience with its timeless lyrics and unmistakeable melody. The song went on forever in the best way, extended by instrumentals and call-and-response with the crowd. When it finished, there were doubtless some who thought the show was over - Adams had played arguably his most well-known track, and there are many artists who would leave it at that. But it seems to me that he refuses to be defined by one song, which is completely understandable considering the quality of all 30 songs he played during the show. Instead of exiting the stage, he ploughed through “Cuts Like A Knife”, further building the euphoric atmosphere. This was followed by the final cover of the night - an exuberant rendition of “Can’t Take My Eyes Off You”, originally recorded by Frankie Valli and often adopted in recent years as a chant by jubilant winning football teams. After this, following a lot of cheering, Adams left the stage.
I thought the show was over. However, instead of disappearing backstage, he strolled along the perimeter of the pitch area, prompting a surge of standing fans who ran to follow him as he interacted with the people on the outskirts of the audience. Then, he ascended to a small B-stage, right at the back of the arena - suddenly, the fans with the most distant tickets had the best seats in the house. In my opinion, this again shows his commitment to providing a great experience for all members of the audience. Here, again with just an acoustic guitar, Bryan Adams finished the show. Gently, he played the ballad “Straight From the Heart”, followed by “All For Love” (which was originally written for the 1993 movie The Three Musketeers, and also featured Rod Stewart and Sting). At this, the audience lit their torches, creating a beautifully magical atmosphere. The arena was well lit rather than being dramatically spotlighted, so there was a unique sense of intimacy. Then, after the resonance of the last guitar chord faded away, after the last flourish and bow and cheer, Adams left the stage.
In all, it was an amazing performance . Although I haven’t considered myself a Bryan Adams fan for very long, now the gig instantly springs to mind as one of the best I’ve ever seen. I’d really urge anybody who has the opportunity to see Adams to seize it - he puts on a phenomenal show, and for me was also a welcome distraction from GCSE revision!. Plus, I managed to grab an official guitar pick after the show when one of the stagehands tossed a few from the stage - I now have a small but meaningful memento from a gig I'll remember forever.
Bryan Adams' 17th studio album "Roll With The Punches" will be available in stores and online from Friday 29th August 2025. His singles "Roll With the Punches", "Make Up Your Mind" and "Never Ever Let You Go" are currently available.
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