Watching Paul Weller perform for the 20th time, you might think I’d be well acquainted with what’s about to happen. Yet, somehow, Weller still manages to make every show feel brand new. Exciting. Stirring. Rousing. Like it’s the first time all over again.
A man that has shaped the cultural zeitgeist over and over, Weller is a rare breed. It’s arguably only Macca alive who can pick and choose from such a well-loved and diverse back catalogue in the live arena – and maybe only Bowie aside who could’ve competed. An unapologetic anti-rockist, Weller is all about the music. That doesn’t mean his audience isn’t important; it just means they don’t determine where he blows … and where he blows, the music goes.
And so I’m at the Liverpool Olympia, a beautifully ornate and recently reopened ballroom on the outskirts of the city, on a cold, almost-winter Monday evening. The vibe is typically Weller; well dressed, brogued and polo-shirted blokes slapping one another’s shoulders, youngsters in parkas and Fred Perry sporting the Weller wig, and rowdy, confident women who’ve made it an occasion already humming ‘That’s Entertainment’. By the time the man himself steps onto the stage at 8:45pm, denim-clad and full of beans, the place is bubbling. Weller, always clip-smart and erect, looks like a man immune to the passage of years. Still strutting like that angst-ridden teenager we first met in The Jam, his performance, in short, is nothing short of exhilarating.
The evening kicks off with the powerful, driving thump of ‘Cosmic Fringes’ from the album ‘Fat Pop’, and it sets the tone for what’s to come – a full-throttle, emphatically full-sounding delivery full of swagger, purpose and intensity that never once flags. From that opening, it’s clear that Paul Weller is going to lead us on a vibrant journey, and as usual, Liverpool shows up to accompany and lift him. The crowd is vigorous and the buzz very real – it’s wonderful to see so many dedicated fans still showing up – an army of razor-fringed old mods coming out to pay homage to their leader.
The introduction of ‘Soul Wandering’, a melodic new track, is particularly well-received. The new record ’66’ has been a revelation, though it would be cruel to say a ‘return’ to form, since Weller’s recent output has been consistently immense. It’s always a risk to present new material to a crowd expecting the classics, but Weller’s audience embrace their leader’s quirks and creative lust warmly.
Weller seems more comfortable and confident than ever. His engagement with the audience is direct and appreciative, unlike many times in the past when he’s remained introspective and even shy. More vocal than I’ve ever seen him, he introduces songs with gusto, quipping between tracks, and rallying the crowd like a man truly in his element. It’s clear that he’s in a safe and comfortable space now; tee-total, clear minded and high on both the music and connection with fans. As a bonafide follower, even the most imaginative of Weller watchers couldn’t have predicted this astonishing creative rebirth.
The show truly finds its groove with a couplet of songs from The Style Council canon. “My Ever Changing Moods” and “Have You Ever Had It Blue” are delivered with such vitality that it feels like Weller is right back in those heady days of jazz-influenced, soul-pop sublimity. These are not just delivered as throwbacks either – they are living, breathing, in-the-moments, and you can see how Weller is completely immersed in them once again. He’s rekindled his passion for that era of his career – an axe he ground for years – and we’re all lucky to witness it.
The addition of Jake Fletcher on bass is another significant highlight of this re-emergence. Fletcher’s presence adds a refreshing boost to the band, with powerful falsetto and intense, rich top harmonies. Fletcher’s chemistry with Weller is evident, and their rapport clearly impacts the entire band, who seem invigorated. Long time side-kick and Ocean Colour Scene stalwart, Steve Craddock, is in as fine and consistently top form as ever, and the addition of saxophonist, Jacko Peake, brings a jazzy, at times latino fusion.
A good band boasts technical skill; a great band has connection and unity. This is a GREAT band.
It’s moments like Weller’s rendition of “All the Pictures on the Wall” that remind us of his remarkable vocal consistency. His voice is so far unblemished by time – it sounds just as raw and evocative as it did on his 1993 record, “Wild Wood”. The nostalgic thrill of hearing this rare gem live adds to the richness of the vibe in the room and electrifies that sense of connection across generations, and across decades of wonderful music.
Another highlight is a re-imagined version of his latest track ‘Nothing’ from 66, which takes on a jazz-fuelled, charisma-full, horizontal twist reminiscent of Miles Davis. Weller’s willingness to experiment and reinterpret his own material keeps his concerts full of surprise. It’s a sophisticated and daring addition that gives the show a different texture, appreciated by even the newest and less knowledgeable of Weller fans.
The set itself is a masterclass in storytelling, drawing from Weller’s prolific career. His setlists are often anything but predictable, but this is epic. Blending hits, rarities, and new material throughout a career-spanning two-hour performance, it leaves little doubt as to why Weller’s place in British music remains so iconic. The Liverpool crowd urges every moment, whether it be getting off their seats for the anthems or simply absorbing the mood of quieter pieces.
The emotional high point of the night, for me, comes with Weller’s stellar performances of ‘Stanley Road’ touchstones ‘Out of the Sinking’ and ‘Stanley Road.’ The crowd’s reaction mirrors my own; surprise, excitement, and complete wistful indulgence. That rare gift of stepping back in time is something deeply transformative in the live arena, and something unique to music as a language we all share.
Weller, a true believer in staying out on the edge and remaining current, drops some more select new cuts: ‘Village’ and ‘Old Father Tyme’ from 2020’s ‘On Sunset’, as well as ‘Glad Times’ from 2021’s ‘Fat Pop’, at which point my buddy, Pete, leans across and says “he’s still got that gift for melody”. ‘Shout To The Top’ sparks dance moves and fist pumps from the masses, and both ‘Above The Clouds’ and ‘Into Tomorrow’ remind us of a time when Weller – heading into middle age and on his arse creatively – was in the early works of unconsciously creating the legend he has become.
A silky version of ‘Broken Stones’, with Jacko Peake’s genius inflections, provide the penultimate number of the main set with an elegance and profundity that only a master of song could, before Weller attacks ‘Peacock Suit’ with all the bluster and force of a man much younger. He’s not so angry anymore, so the spit isn’t there, but the mastery is. The mosh pit – also age defying at this point – moves like a sea that the decades can’t quell.
Weller strikes into a much anticipated encore with the stirring ‘Changingman’, commanding energy once again from a crowd looking round at one another and nodding in acknowledgement that the guvnor is back on top. This terrific seven-piece band, also featuring former The Moons members Ben Gordelier (percussion) and Tom Van Heel (keys), as well as Liverpool local lad Steve Pilgrim on drums, then brings us back down with Weller’s hauntingly beautiful staple, ‘You Do Something To Me’. And there we all are again, locked in that shared emotional space with a piece of music that we’ve cried to, made love to, travelled with and adored. Complete synchronicity between artist and audience.
Then comes Wild Wood – the song that brought the entire Olympia to a standstill. For some of us, it is the first time in decades hearing this track live, and it’s a masterpiece that carries all the weight of years gone by, and the hope that still lies ahead for a man with the creative muse well and truly on his shoulder.
To finish, Weller tears through The Jam classics ‘That’s Entertainment’ and ‘Town Called Malice’ with an intensity that sends the vast majority of middle-aged mods, (those who hadn’t already drunk themselves towards an early night), into a frenzy. By the end of the set, it feels like everyone is a little lighter, younger, happier – as if we’d all borrowed some of Weller’s unending energy and vitality.
What made this night particularly special was seeing that Weller has clearly made peace with his entire body of work. He was willing to pull from every phase of his career, embracing each era with equal love and sincerity. He’s no longer the restless, itchy, spikey artist seeking forward motion only – he’s found comfort and pride in his legacy, and is back to that point where he’s willing to embrace it and share it.
At an age where many artists start to show their limitations, Paul Weller is defiant, thriving, and promising even more. He’s reached that point in his career where the nerves of early fame have been replaced by the joy of simply making and sharing music. Live, he’s stepped out of his own shadow and, quite simply, become a beast. Yes, there’s not just life left in the old dog – there is potential, and an unquenchable energy. This is one of the gigs of the decade so far, and guess what … my Weller vinyl has been back out again, spread across the sofa, captivating me once again.
All hail the master … he’s back, he’s in front, and he’s performing like never before.
10/10
Photo Credit: Nicole Nodland
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