Paul Weller
LET your hero’s haircut follow you into middle age and you run the risk of looking like a 1983 copy of NME that‘s been read in the bath.
Morrissey‘s ageing, bequiffed fans may well recoil, but it appears Paul Weller’s most devoted masses are in danger of looking like walnuts with feather cuts too.
Besides the dodgy barnets and questionable jumpers, it was a salt of the earth, blokey tide which engulfed the M.E.N. Arena to see punk, new wave, pop and indie’s most refined veteran.
The working man’s poet, Weller wasted no time in hitting Peacock Suit head on for his opening shot, the former Jam frontman’s chugging riffs meeting the squealing lead guitar breaks of Ocean Colour Scene’s Steve Cradock.
A perfect version of Out Of The Sinking evoked memories of when Weller babysat the glorious Britpop revolution in the late nineties.
The Changing Man
Followed shortly by The Changing Man, a classic in every sense. It is the instantly recognisable, reverse sound in the guitar solo and flickers of improvisation that reminds us that Weller is as accomplished and impressive on the fretboard as he is at the mic.
The new and obscure tunes play equal billing to his greatest hits and 2005’s Paper Smile is a welcome education for the uninitiated before the cracking, recent single All I Wanna Do (Is Be With You) proves that inspiration didn’t desert him when recent success had seemed in short measure.
Modern expectations pale into insignificance when Eton Rifles finally engages the whole, respectably full arena, with lazy legs lurching into action to pogo around their seats.
After Porcelain Gods oozes the sophistication of 1995’s Stanley Road, the show becomes stifled by fans favourites, middle of the road album tracks and a cover of Renaissance’s Wishin’ On A Star.
Spotlight
However, when the spotlight hits Weller at the back of the stage, at his piano for the blissful You Do Something To Me, it’s easy to forgive any amount of self indulgence.
His passion doesn’t wane throughout and it’s a night full of raw energy, measured by tender collectors items like The Jam’s The Butterfly Collector and a remixed, ethereal version of Wild Wood.
Two encores first bring Broken Stones which could melt a stone heart, before Whirlpool’s End is upstaged by overbearing, clumsy political projections.
Finally, and with no little fanfare, Town Called Malice sees out the night, a well timed British classic enjoyed by everyone young and old, with hair and without.
What did you think of Weller's set? Have your say.
Reviewed: Wed, 19 November, 2008
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