Playing Liverpool is almost a hometown gig for Paul Heaton. Born just across the River Mersey in Bromborough, with his latest musical collaborator Rianne Downey now living in the city, and Liverpool legends Lightning Seeds providing the support, there was a distinctly local flavour to proceedings. This was Heaton’s eighteenth show in the city, where he has forged a deep connection with audiences through his work with The Housemartins, The Beautiful South and his subsequent solo career.
Unsurprisingly, the show was sold out, although that owes as much to the enduring affection for Heaton and his remarkable catalogue of songs as it does to his admirable insistence on keeping ticket prices affordable and rejecting the increasingly controversial practice of dynamic pricing. At a time when concert tickets are becoming prohibitively expensive, Heaton remains refreshingly committed to ensuring his music is accessible to ordinary fans.
Before Heaton took to the stage, we were treated to a sparkling nine-song set from Lightning Seeds, whose frontman Ian Broudie produced Heaton’s chart-topping album Jenius. With a catalogue of effortlessly melodic pop songs at their disposal, the band needed little encouragement to get the audience singing along. ‘Lucky You’, ‘Three Lions’ and ‘Pure’ were particular highlights, delivered with the assurance of musicians who know exactly how to make these songs work. The band appeared in excellent shape, which bodes well for next year’s Greatest Hits tour.
The Spinners’ recording of ‘The Leaving of Liverpool’ filled the arena as Heaton, dressed in his customary lightweight black anorak, took to the stage. He was followed by his latest collaborator, Glasgow-born Rianne Downey, who provided a striking visual contrast in a glamorous red jumpsuit. They launched straight into ‘One Eye Open’, taken from his current album, immediately establishing the musical chemistry that would characterise the evening.
At 64, Heaton clearly still loves what he does, and the affection is more than reciprocated by an audience who seemed to know every word of every song. Few British songwriters have assembled such an extensive catalogue of intelligent, melodic and deceptively sharp pop music. Whether revisiting The Housemartins’ ‘Sheep’ and ‘Sitting on a Fence’, or more recent material such as ‘I Gotta Praise’ and ‘DIY’ from his years working with Jacqui Abbott, the songs have lost none of their appeal.
Vocally, Heaton remains as impressive as ever. At 64, his voice has lost none of its naturally rich, warm and pleasing tones, effortlessly carrying both upbeat pop melodies and the more lushly arranged numbers. His distinctive phrasing and seemingly effortless delivery remain central to the appeal of these songs. There is no sense of an ageing performer struggling to recapture former glories; Heaton sounds every bit as good as he did in his heyday.
Much of the evening’s energy, however, came from Downey, who is rapidly establishing herself as arguably Heaton’s finest vocal partner. That is no small compliment given the contributions of Briana Corrigan, Alison Wheeler and Jacqui Abbott, but Downey brings something particularly infectious to the partnership. Her voice has the strength, clarity and versatility to complement Heaton’s distinctive delivery, while her exuberant stage presence provides the perfect counterpoint to his more understated approach. She possesses that indefinable star quality that makes it difficult to take your eyes off her.
Downey particularly excelled on ‘I Want the Job’ and a succession of Beautiful South classics, including ‘I’ll Sail This Ship Alone’, ‘Song for Whoever’, ‘A Little Time’, ‘Don’t Marry Her’ and ‘Perfect 10’. These songs depend upon the interplay between male and female voices, often contrasting romantic melodies with lyrics that are considerably more cynical, and Downey proved more than equal to the task. Her performances were confident, expressive and full of personality, breathing fresh life into songs that have been familiar to audiences for decades.
The newer material also held its own alongside the established favourites. ‘My Favourite Kind of Idiot’, from the current album, was particularly warmly received, demonstrating that Heaton remains a songwriter with plenty to say rather than an artist content simply to revisit past glories.
By the time the first encore arrived, the audience was in full voice for ‘Rotterdam (Or Anywhere)’ and ‘You Keep It All In’. A second encore brought the evening to a close with ‘Prettiest Eyes’ and The Housemartins’ enduring classic ‘Caravan of Love’, sending thousands of delighted fans home with yet another reminder of just how many memorable songs Heaton has given us over the past four decades.
What makes Paul Heaton such an enduringly appealing performer is the absence of pretension. There are no elaborate theatrics or unnecessary distractions, just a remarkably gifted songwriter, an outstanding collection of songs and musicians who know how to deliver them. With Rianne Downey bringing renewed energy and a formidable vocal presence to the partnership, Heaton’s music sounds as fresh and relevant as ever. Liverpool has always taken him to its heart, and on this evidence, the feeling remains entirely mutual.
The tour continues and tickets can be found here, https://www.ticketmaster.co.uk/paul-heaton-tickets/artist/35771
Reviewer: Adrian Cork
On: 11/11/2026
