Liverpool Sound and Vision Rating 9/10

The appeal of Chris de Burgh thankfully never wavers, the consummate professional on stage, the twinkle in the delivery between songs, the genuine affection of his fans as they elevate the mild mannered star to the threshold of immortality…this is no glib statement, but an observation as the singer songwriter returns to Liverpool on the first night of his latest tour, and seeing him work the sense of the common man into an artform; and he endeared himself to the crowd, you could feel the drama of his songs play out, as he intends, as the audio cinematic touch overwhelms and passionately throws hearts into a flutter.

The unlikeliest of stars, but one to whom the stage belongs to, the limelight capturing humility, the ordinary man grown into a figure of respect and fondness, and as the Liverpool Philharmonic Hall crowd paid homage to the man as he performed much loved songs from across his 50 year career and gave the city of music an early gift of spring in the step and one that garnered huge applause consistently, deservedly, throughout the evening.

The Liverpool Philharmonic Hall is no stranger to Chris de Burgh, but as the spotlight shone down on his guitar, his piano, or even as he stood with the space surrounding him, there was an air of greater regard for the songs, and as beautiful ballads, rock classics, and even the reverence of his peers and influences in a couple of covers he placed with deference into the set, the smile, the flowers offered, this was a night in which stood out with grace amongst them all.

Kicking off the evening with the songs The Hands Of Man, Here Is Your Paradise, and the lingering groove of Missing You, Chris de Burgh held the audience as if they were the only ones to whom life mattered, and as the two set evening continued with tracks such as It’s Never Too Late, a stunning rendition of The Beatles classic Let It Be, Go Where Your Heart Believes, the progressive nature of Spanish Train, the powerful dynamic and melancholic deep rooted regret of The Snows Of New York, Borderline, Don’t Pay The Ferryman, A Spaceman Came Travelling, a cracking cover of Toto’s Africa, and the sensational, timeless cool of Lady In Red, the playful mood of the artist was on full display, even taking time to tease the audience with the opening segments of tracks such as Here Comes The Sun, Led Zeppelin’s Whole Lotta Love, and The Eagles Hotel California as part of the entertainment.

This was a night when the legacy of the man was rubber stamped and confirmed, 50 years of sheer dedication to his craft, to the audience wrapped in one heartfelt thank you…a dynamo of an epic nature.

Ian D. Hall