London, England (3) - Media Reviews
DEF LEPPARD - Wembley Arena, London, 8 December 2018 By David Wilson
In the Def Leppard career chronicles, 1987’s ‘Hysteria’ will always loom large. Although its predecessor ‘Pyromania’ was a 10 million selling phenomenon in the USA and opened a lot of doors for similar bands, ‘Hysteria’ was on a different scale level altogether.
Four years in the crafting, the album fused a hard rock image with the crafted sensibilities of pop with a series of potential hit singles, six of which proved to be just that. Together with the equally multi million selling ‘Slippery When Wet’, ‘Whitesnake 1987’ and ‘Appetite for Destruction’ it ruled the airwaves and sales charts worldwide for the latter part of the eighties.
In their native UK it was also the album that finally broke them big. ‘Pyromania’ had still seen them still playing to a core of spotty metalheads (many of whom, myself included, still prefer the rather more raw riffing of ‘Hysteria’s three predecessors) whereas from the moment ‘Animal’ stormed into the charts and the album soon followed at No 1 they crossed over into a wider appeal.
The hit singles have formed the cornerstone of a Leppard live show ever since, but some five years after a residency in Vegas, they finally played the album in full on home soil. This was also a commercially successful decision- as evidenced by the fact that their first ever show at the O2, which I also attended, sold out and led to this extra London date being added to the tour. It represented the completion of a comeback in popularity from the first half of the 2000’s which saw the Leps downsize to Hammersmith and Brixton on their London jaunts.
Their previous tours in the past decade have been Greatest Hits packages as an effective co-headliner- twice with Whitesnake, once with Motley Crue- but on this occasion the pecking order was clear. Nevertheless the influential and quirky Cheap Trick were no common or garden opening act.
Their show may be more naturally suited to smaller clubs, but they were also given the opportunity to have a backdrop, and after a rather faltering opening with ‘Hello There’, the sound on ‘Big Eyes’ was better than I would have expected from a support act at this cavernous venue.
Their own headline sets are noted for varying from night to night, but I was unprepared quite how much this night’s set would diverge from what I had assumed was a standard Greatest Hits set at the 02 (for completists, songs played there but omitted this time were ‘California Man’, ‘If You Want My Love’, ‘The Flame’ and ‘Never Had A lot to Lose’.)
‘Ain’t That a Shame’ featured some rough-edged, garage style guitar from the ever zany Rick Nielsen but if the ELO-sounding ‘Voices’ was a surprise, even more so was the introduction of a couple of special guests in Phil Manzanera and a harmonica-playing CT fanatic Michael Monroe on a cover of ‘Run Run Rudolph’, followed by Phil staying for the band’s take on the old classic ‘The In Crowd’, often associated with his old band mate Bryan Ferry.
We also got the holy trinity that they dare not leave out in ‘I want You to Want Me’, ‘Dream Police’ with Rick rapping the middle vocal section from a mike stand on the walkway, and ‘Surrender’ with Robin Zander’s voice stronger than a 65 year old’s has any right to be, before the usual outro of ‘Goodnight Now’ and Rick’s five necked guitar routine, completing a set that whetted the appetite very nicely.
With a clock with the band’s logo counting downward it was obvious Def Leppard’s show was going to be one of precision timing and immaculate choreography. A backing track with the various intros to ‘Hysteria’ songs led into the album, played in its exact order, which was therefore a different experience to the pacing of a usual Def Leppard show.
Instead during ‘Women’, with a video backdrop of the Hysteria ‘triangle’, and featuring fine solos from both Phil Collen and Vivian Campbell, it was a time for those of us who remember to be transported back in a time capsule to the moment we first popped the new album on, in my case into one of the twin tape decks of my ghetto blaster, and be rather puzzled that rather than an out and out rocker like Rock Rock Till You Drop, to hear a highly crafted, polished song unfurl that took ages to get to a layered chorus.
The hits then came earlier than they normally would in a live set, with the shuffle beat of ‘Rocket’ (never my favourite I must admit) giving way to a glorious treble. Either side of the lush ballad ‘Love Bites’, the big hits ‘Animal and ‘Pour Some Sugar on Me’ got the great reception you would expect (though I was surprised how many in the Arena’s side tiers stayed seated) and were all the better for a bigger and slightly rawer live sound that gave their pop tones a greater edge.
The album was played with minimal interruption, save when Joe introduced proceedings and said that the same line up had stayed together ever since, with one solitary new boy of a mere 26 years standing, at which point Vivian- in danger of being in the shadow with Phil playing the majority of solo leads – stepped forward to play the intro to ‘Armageddon It’.
Touchingly and appropriately, a black and white photo of the one contributor to this masterpiece now longer with us, Steve Clark followed by a video of a live solo intro, led into ‘Gods of War’.
At this point of proceedings the crowd’s energy levels dipped, but I was in a minority at looking forward to the opportunity to hear some of the ‘album tracks’ that are less well known but actually I prefer to the more obvious hits. The aforementioned ‘Gods’ is the album epic, at least lyrically, while as I punched the air to the chorus, I was thinking ‘Don’t Shoot Shotgun’ would have been an ideal single as well.
‘Run Riot’ harked back to the earlier rawer Leppard and gave Phil the opportunity to rock out that his polished solos do not always provide, before those who had taken a breather were back in the fold for ‘Hysteria’, Phil and Vivian going down the walkway as they played the sole harmony solo on the album and with a few bars of ‘Heroes’.
‘Excitable’ is unquestionably the filler on the album and yet this piece of dance-rock fluff was unexpectedly fun live, before the closer in ‘Don’t Give Me Love and Affection’, another that might have been a toss up with the title track a for a mid-pocket single, and with Joe admirably stretching for the higher notes.
The format for the tour was to play ‘Hysteria’ in its entirety then a five song encore of what Joe described as the before and after. The first song was varied every night- at the 02 those who us who still swear by their debut album were treated to a riff-heavy ‘Wasted’, others on the tour to ‘Let it Go’ or ‘Action’ and Cardiff drawing the shortest of straws with ‘Make Love Like a Man’. On this occasion , after thanking fans for voting the band into the Rock n Roll Hall of Fame, he turned to Phil for his choice and ‘Promises’ as a relatively rarely played cut did very nicely.
Joe then asked for lighters to come out and was unexpectedly good on a version of their joint biggest single hit ‘When Love and Hate Collide’ which took on a more powerful dimension live.
They then closed with the three non-Hysteria songs that are unmissable from a live set starting with ‘Lets Get Rocked’, then Rick Allen’s usual count into ‘Rock of Ages’. It is hard both for performers and audience to get anything new out of such a familiar routine, but by this point the band’s stage movement seemed looser and more animated than earlier in the set and indeed I have rarely seen them enjoying themselves so visibly.
Phil and Viv again marched down the walkway side-by-side to play the opening riff to a storming version of ‘Photograph’, the song that launched their rise to commercial fame, before Joe signed off with his usual ‘until next time – don’t forget us and we won’t forget you’ shtick. A set list of greater than an hour of 40 minutes might have been more of a treat however.
Def Leppard have always been masters at the presentation of a big arena show, but on the occasion of the celebration of their landmark album, they pulled out all the stops and excelled themselves even by their high standards.
By Get Ready To Rock 2018.
Def Leppard with Cheap Trick – SSE Arena Wembley, London – 18/12/2018 By Edward Layland
There was a lot of silver hair in the crowd at the SSE Arena, Wembley but with Def Leppard set to headline Download next summer this wasn’t purely about nostalgia. However, the choice of aging Americans Cheap Trick as support act was questionable, especially given that this tour would have been a great opportunity for any upcoming British rock band to play to a wider audience.
Nevertheless, it was the much-travelled Cheap Trick (2.5/5) that opened the show; delivering a competent, energetic 10-song set that included classics like ‘I Want You To Want Me’ and Fats Domino’s ‘Ain’t That A Shame’, besides the seasonal ‘Run Rudolph Run’. They neglected biggest hit ‘The Flame’ in favour of generating a little party atmosphere, yet the half-full arena was never going to erupt prior to the main attraction. Even so, Robin Zander demonstrated that his voice still carries plenty of power, despite his ponderous movement, while guitarist Rick Neilson looked more sprightly, constantly prowling the stage and delivering a fine volley of riffs. However, Cheap Trick‘s heyday was 40 years ago, and although they’re obviously very proficient, their brand of AOR/MOR isn’t about to convert legions of new fans and it’s pretty clear that they are happy to still be getting such high profile gigs at the expense of younger talent.
Def Leppard (4.5/5) have never quite received their dues from the British rock world; their mega success across the pond and their slick production often undermining their credibility as a rock act. Nevertheless, with the same line up for 26 years, and not a synthesizer in sight, the quintet have a harder edge in the live arena.
Tonight Leppard were playing their 25-million-selling album ‘Hysteria’ in its entirety, as they will at Download this year, and they did not disappoint. It was clear from the off that this would be an altogether different proposition to the openers; bare-chested guitarist Phil Collen showing off a remarkable physique for a man of 61 as he shreds the intro to opener ‘Women’.
The first six tracks on ‘Hysteria’ were all massive singles, making the first half of the show all killer; the experimental mid-section of ‘Rocket’ is almost hallucinogenic, ‘Animal’ has the crowd belting out the irresistable hook, ‘Love Bites’ is as classy a love song as you’re likely to hear and ‘Armageddon It’ has power added to its hard rock brilliance.
Everything is delivered with enviable precision and professionalism; the veteran guitarists and bassist Rick Savage skipping around the stage like it’s still 1987, while singer Joe Elliot constantly works the crowd. Sure, there are a few cracks in the vocal delivery but they cover it with slick harmonies. Strangely though, mega-hit ‘Pour Some Sugar on Me’ is slightly lacking in zip, but still greeted with enthusiasm.
Although tracks such as ‘Don’t Shoot Shot Gun’ and ‘Excitable’ lack the quality of ‘Hysteria’s better-known numbers they are delivered with equal panache. ‘Run Riot’ takes on a surprisingly punky vibe, complemented by a backdrop of riotous images from the turbulant 70s and 80s. While the title track and closer ‘Love and Affection’ both carry an air of triumph. A five-track career-spanning encore follows, culminating in ‘Photograph’, the song that broke them in America. Their continued vigour and quality musicianship shines through to the end; the irrepressible Collen demonstrating what a fine guitarist he really is.
Their delivery is faultless, they work the stage and the crowd tirelessly and the songs stand up as timeless classics. They may be old, this may be a nostalgia trip, but it’s certainly value for money and will be well worth checking out next summer.
By Already Heard 2018.
Mass Hysteria comes to an end at the SSE Arena, Wembley By Adrian Hextall
What started off a residency in Las Vegas for several shows then turned into a headline slot at Hellfest before morphing into a full blown tour that saw Def Leppard perform their classic album Hysteria in full has finally come to an end.
A second date in London on December 18th, coming about due to the fact that the band’s first show at The O2 sold out in record time, culminated at the famous Wembley Arena.
It’s the venue that all bands want to play, all bands wanting to utter those famous words “Hello Wembley”. As timeless and part of the rock and roll history in the UK as the Hammersmith Odeon, playing a show is a right of passage for bands and even when they’ve managed a show there, the excitement and buzz never seems to fade.
Def Leppard are one of only 5 artists to release two albums in the US each with sales in excess of 10m copies. The others…. The Beatles, Led Zeppelin, Pink Floyd and Van Halen. So we’re talking quality here, no mistake and one of those albums, ‘Hysteria’, celebrating 30 years of success was set to be performed in its entirety. Die hard fans will of course be wanting the same treatment with Pyromania but Leppard, ever the savvy businessmen recognise that it’s Pyromania’s successor that really set the world alight and appealed to the masses.
Those masses that did in fact turn out in droves for this tour playing to over 125,000 in the UK. Not bad for a little known band out of Sheffield!
2018 also marks the first time Def Leppard have played and sold out the Royal Albert Hall (part of the Teenage Cancer Trust shows) and next year will see the ceremony to induct them formally into the Rock & Roll Hall of Fame following their first nomination and winning the fan vote as well.
Lauded by Joe Elliott as one of the greats that he grew up listening to, Cheap Trick had toured previously with Leppard when the latter were on the YEAH! tour several years ago. Another band with more hits than we realised we knew, they generated a good singalong on tracks like Surrender and I Want you To Want Me. 50 minutes of music with a set list to die for, they too got in on the end of tour ‘Christmas event’ by inviting Michael Monroe up on stage with them for a rousing rendition of Run Rudolph Run. If that wasn’t enough, Roxy Music’s Phil Manzanera also joined them and stayed for another cover, namely The ‘In’ Crowd.
The guest slots were great, the variety a neat touch keeping the show very rock n’ roll and festive feeling, even if Robin Zander was dressed like the motorbike rider from the Village People.
As the stage changeover commenced a countdown timer teased the crowd and as it reached zero the words Def Leppard appeared on the video screens along with the ‘London’ legend.
What then followed was a perfect rendition of Hysteria from start to finish in track order. The giant video screen helping out the band with suitable imagery for tracks like Gods of War and when appropriate, archive shots of the late, great, Steve Clark.
Steve’s replacement, Vivian Campbell has been with the band for over 25 years and is still (amusingly) referred to by Joe as ‘the new boy’. It’s a term of endearment though and one that still draws a smile from Vivian who now must feel like the Peter Pan of the band.
As he was at the O2 a couple of weeks earlier, Joe Elliott was decked out in a military style jacket, this time it was red velvet with stitched piping. He owned the stage. The T-shaped affair that helped us take half decent shots of him from the sound desk as he reached the end of it put him into the middle of an adoring audience singing word for word every one of the 12 tracks on the album.
For the die-hard fans, the rarely played non-single tracks are the things we wanted to hear. The trio of ‘Don’t Shoot Shotgun’, ‘Gods of War’ and ‘Run Riot’ proved to be a real highlight.
During the encore at The O2, the crowd were treated to ‘Wasted’ rarely heard from the band’s debut album. A real treat for me as a fan, wishing that the band could perhaps revisit those early tracks for a re-recording session to breathe some new life into them again.
At Wembley we got ‘Promises one of the best of the modern Leppard (modern being almost 20 years ago) tracks and one that saw them working with 6th Leppard Mutt Lange when they recorded the track on Euphoria. A definite bonus and a great reason to make the effort to attend both shows.
Def Leppard are the perfect showmen. Their music sits as well now as it did in 1987 when Hysteria was released and with their induction into RRHoF it seems like the industry is finally recognising the contribution one of the UK’s greatest exports has made to rock music. Long may it continue.
By My Global Mind 2018.
TVD Live Shots: Def Leppard and Cheap Trick at the SSE Arena at Wembley By Jason Miller
I was nine years old, and Def Leppard was the coolest band on the planet. The first record I ever bought with my own money was 1983’s classic rock ‘n’ roll juggernaut Pyromania. It was one of those rare albums where you could put it on from start to finish and never have to skip a song.
Back then you could expect a new record from your favorite band, like clockwork, every two years. But tragedy struck Def Leppard when, on New Year’s Eve 1984, drummer extraordinaire Rick Allen lost his arm in a horrific car accident. Many of the fans, including myself, thought the band might be done. There certainly wasn’t a new record coming anytime soon. That could have been the kiss of death for many groups, but the decade was in full glam metal phase so it would give them the extra time they needed to regroup and reload—which is precisely what they did.
Hysteria was released on August 3, 1987, almost four years after the monumental success of Pyromania. The lead single “Woman,” a favorite track of mine, seemed to bomb in the States and the band and their label were starting to question themselves. But it would only be a matter of time as they had seven hit singles in their back pocket and they were determined to make history. Hysteria hit No.1 on the Billboard 200 and remained on the US chart for over three years, during which time Def Leppard became one of the biggest bands on the planet.
During a 2012 interview, lead guitarist Phil Collen told Guitar World that “Mutt Lange wanted to make Hysteria a hard rock version of Michael Jackson’s Thriller. The fact that with Thriller you had an R&B artist who crossed over not just into pop, but everything, even rock with Eddie Van Halen playing on ‘Beat It’—that really appealed to Mutt and to us.”
And that’s precisely what they did.
They took the slick production of Pyromania to a new level sonically and produced a record that would appeal to pretty much everyone on the planet. And it did. It is Def Leppard’s best-selling album to date, selling over 25 million copies worldwide, including 12 million in the US, and spawning the aforementioned seven hit singles. Mutt and the Leppard boys took the concept of “bigger and better” even further as they pushed the limits by making the album 62 and a half minutes and one of the longest ever issued on a single vinyl record.
How does the record hold up after more than three decades? Brilliantly. From the opening cut of “Women,” the capacity crowd at the SSE Arena knew they were in for something special. I had been listening to the record all week long reliving my teenage angst years preparing for this show and it was everything I expected it to be and more. All the hits sounded great—even their biggest hit which I loathe, “Love Bites” sounded good, rounded out with an encore lead by the undercelebrated “Promises” from 1999’s return to form Euphoria, and a fast follow up with “Rock of Ages” and “Photograph”—all the makings for an epic arena rock show like no other.
And Cheap Trick as the opener… what more can I say about the greatest rock band in the world? I’ve seen them a dozen times, and they keep getting better and better. It’s so great to see one of my all time favorite bands back on the big stage playing to an arena crowd. This is where they need to be and if they ever decide to call it a day, they can do so knowing that they’ve left everything on the table and the world will remember them as legends. God bless Cheap Trick.
By The Vinyl District 2018.
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