Adele has famously shied away from arenas, due to stage fright: she played the 3,500 capacity Apollo when I saw her in 2011. Indeed, in her 21 days, she claimed she'd rather perform for 12 years at the Barfly than move up to the O2. I'm averse to large venues too, so I came to regret her change of heart from the back of the 15,300 strong crowd in Manchester Arena, on the second of a four night residency. I still felt grateful to be there at all: the scramble for seats in Manchester made the BBC News, and despite an attempt with Songkick to control the secondary market, tickets were reportedly changing hands for thousands of pounds. Adele's remarkable commercial success is due in large part to her personality and judicious positioning in the marketplace: this article explains that her rise to one of the world's biggest entertainment brands has been planned and calculated meticulously. Even a rare sub-standard performance at The Grammys last month was dealt with adeptly, when Adele Tweeted she'd indulged in fast food to cheer herself up, and revealed to Ellen she'd cried all of the next day.
Yet, Adele's rise is rooted in her vocal ability, and on last night's evidence, her voice is as sonorous and emotionally charged as ever. Her previous tour was curtailed by vocal problems: no such chances are being taken this time, as she explained she's not even allowed to consume any alcohol, lest it affect her vocal chords. The opening Hello showcased this talent and created real drama; yet as she moved onto the main stage and belted out Home Town Glory, my first concerns about the evening's predominantly ponderous tempi emerged. She enunciated perfectly, so even those sat in the gods could understand the lyrics, but the large acoustic acted as a drag on momentum. During One and Only, the band was unveiled: as befits the production budget, a six piece was joined by a twelve strong orchestra and three backing singers. The stage design and lighting were clean with an Apple like minimalism: aesthetics took priority over practicality, as the only video screen was recesssed behind the band, and so obscured from view for some of the audience.
Rumour Has It was a high point, but then the mood sagged with the bland Water Under The Bridge and a cloying rendition of I Miss You. These songs served as a reminder of how safe the songwriting is on 25, governed by an overwhelming reluctance to offend middle England. Alas my favourite recent song, River Lea, was omitted. Skyfall, with dramatic lighting, brought some welcome tension, and Don't You Remember showed the positive influence of her time in Nashville writing 21, even if the expressive gestures seemed exaggerated at this Manchester performance. The tension sagged for a stripped down, acoustic rendition of Send My Love, to be followed by a real highlight in the moving Dylan cover Make You Feel My Love, which brought tears to Adele's eyes. The inconsistent musical interest continued though, so a stirring, virtuoso Set Fire To The Rain closed the main set with grandeur, only to be followed by a tepid All I Ask as the first encore.
The support act turned out to be Adele herself. Introducing each song at length, she was conversational in the manner of a chat show host, providing entertainment for those who couldn't contemplate having to sit listening to uninterrupted music for two hours. Alexis Petridis of The Guardian argued that her charm allowed her to 'get away with stuff that shades into end-of-the-pier entertainment', yet I found that the constant jokiness and interruptions to allow audience members to take selfies with the star interrupted the transcendent magic of the music. Yet, there were moments of illumination, such as when Adele explained that Someone Like You is now 'your song', as her life has moved on from such heartbreak, and then invited a young audience member to join her on stage to sing it. Introducing When We Were Young, Adele talked in a heartfelt manner about becoming a mother, and the song was illustrated with pictures of her as a child, and pregnant. Earlier, she'd described meeting A list actors at The Academy Awards as if she was one of us, and she brought a sense of spontaneity to her frequent interactions with the crowd.
Adele's appeal can be compared to that of the British Monarchy. Like The Queen, nobody could dislike the person, and only a small bunch of snobbish intellectuals disapprove of the institution or music in principle. Both have a commanding presence, but cultivate an approachable, down to earth image, seeking common ground to allow their audience or subjects to relate to them in spite of their privileged positions. They even parade their vices to appear human, be it horse racing, or last night a propensity to swear in public, whilst at the same time remaining god-like. Adele's slow progress through the crowd moving to the B Stage, accepting gifts along the way, recalled a member of the royal family greeting the public. If there is a crisis of succession, and the concept of Charles III proves too controversial, Adele would surely be widely welcomed as a substitute ceremonial head of state. Yet, for all the attempts to portray herself as ordinary, the final sing along to Rolling In The Deep was a reminder that she in fact has a rare and special talent as a performer. This charisma transcends the limitations of a mediocre third album, and physical distance from the stage, as a reminder of her ability to move and unite the nation, collectively.
Set List
- Hello (started on B stage)
- Hometown Glory
- One and Only
- Rumour Has It
- Water Under the Bridge
- I Miss You
- Skyfall
- Million Years Ago
- Don’t You Remember
- Send My Love (To Your New Lover)
- Make You Feel My Love (Bob Dylan cover)
- Sweetest Devotion (partly on B Stage)
On B Stage
- Chasing Pavements
- Someone Like You
- Set Fire To The Rain
Encores
- All I Ask
- When We Were Young
- Rolling In The Deep
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