Lionel Richie, Manchester Arena, gig review: A tour that delivers its promise of all the hits

As the loud announcement of “Hello” predictably echoes out through the arena as an introduction, Lionel Richie struts onstage to a thunderstorm of flashing lights and sound effects. This tour promises “all the hits” and from the off that’s what is delivered.

Opening with “Running With the Night” it’s like being hurtled back into the 1980s instantly. Richie’s band, both aesthetically and sonically, seem split between classic heavy rock and old school funk; his guitarist with a long perm, scarf tucked into his pocket, tight jeans and high-top trainers, looking like a young Bon Jovi, whilst his bass player struts and pounces, playing classic slap bass, evoking golden-era funk and soul. Literally sandwiched in between the two of them as they do their thing at the front of the stage, playing air guitar, is Richie. It sets the tone for an evening that is playful, humorous, and whilst a little dated and cheesy in approach and tone, is still likeable.

What becomes increasingly apparent as the night goes on is just how many hits Richie has, the sort of songs that are set deep in your memory, indelibly branded, even if you’ve never bought a record of his in your life. The material of his previous band, The Commodores, is often the fiercest with the heavy funk strut of “Brick House” being a particularly forceful moment in the evening. When he’s not working his way through his entire back catalogue, Richie is ever the pleasing showman, cracking jokes and being intentionally and overly sycophantic to the crowd, suggesting extra security is needed to contain their wildness and how they blew the previous night’s audience away. A nightly technique no doubt but the crowd laps it up regardless. On more than one occasion as he sits at his piano he downs a glass of rosé wine in one and pretends to forget where he is, exclaiming “Hello Amsterdam”. It’s all very old school; a sort of Vegas entertainer schmooze that has long since waned in popularity but Richie possesses enough natural charm and humour to continue to breathe life into it.

As the end looms, “Dancing on the Ceiling” is predictably eruptive and proves to still be a potent piece of pop music, “Hello”, “We Are The World” and “All Night Long” are the closing trio as the aisles fill with thousands doing their best wedding dances.