CityLife

Pearl Jam

SO THAT'S WHERE KURT'S JUMPER GOT TO!: Vedder and McCready

WHAT does grunge look like when it gets older? In the case of Eddie Vedder you can still see signs of what made it exciting as there’s a vague air of danger about him.

His rugged charm offset by the rest of the band who appear like four boffins working at the helm of an internet firm, the type that don’t have to dress to go to work. It’s not only the band that has inevitably changed with time, their audience has too, they’ve become younger but equally as devoted.

With a single glance Vedder sends different banks of the audience into raptures before launching into Long Road, a climbing song that blooms from a slow start.

Many of Pearl Jam’s songs unfold in the same way, built on subtle foundations before fluttering into life.

On the flip side there’s the likes of their second song, Last Exit, hitting a driving pace early and maintaining the same speed. Both extremes can become tiresome when repeated throughout two and a half-hour show, a feat which Pearl Jam appear to comfortably sustain.

Jeff Ament’s fuzzed up bass features heavily in the grimy rock of Why Go, setting the scene for it’s primal, chanting chorus.

Compared with the joyous The Fixer, from the latest album Backspacer, it becomes clear what 18 years can do to ease any band out of an agitated phase into accepting that ‘yeah, yeah, yeah’ is actually a good line for a catchy chorus.

As Vedder addresses his audience of ‘Mancs’ following the song he nervously claws at the hem of his T-shirt, suggesting the awkward traits of youth haven’t yet deserted him completely.

The frontman also paid tribute to a Manchester-based friend in former ‘Smiths guitarist Johnny Marr by dedicating one number to the well-connected local hero.

Shades of brilliance

The performance offered shades of brilliance as well as missed opportunities to make the night really memorable.

For every shredding solo that emerges from the fretboard of Mike McCready, even managing to play one entirely behind his back during the almighty Even Flow, there’s another gentle drop in pace to allow the layers of folk, blues and country in their music to come through.

During an intricate jam Vedder begins to gravitate towards the side of the stage for what appears to be a bottle of wine and the odd, crafty cigarette.

With stunt soloing and illegal smoking in full view Pearl Jam begin to show real rock credentials before Grievance takes the wind out of everyone’s sails with it’s joyless, slow pace.

With an audience wanting to be let loose again after the false starts it takes an energetic run through of Rearview Mirror to get the room bouncing again.

A first encore brings another hit in Daughter, creating a reserved air of euphoria in near tropical temperatures before Alive fulfils its promise to really let rip.

A second, five-song encore containing the almighty Drop The Leash fades out with a whimper with a goodnight lullaby in the form of Indifference.