Concert Review: Neil Diamond at Vector Arena

Neil Diamond. Photo / Supplied

Out in the real world, good times never seemed so gone for good. Inside the first of Neil Diamond's two nights at Vector Arena, though, it was a different story.

Diamond acknowledged our national heartache early in his set. Then he pretty much got on with the job of putting on a largely wonderful show - one befitting a man who didn't become the pop legend he remains today out of subtlety. And he did that with great tunes from enduring hits, delivered in that reedy baritone, which, like the rest of him, is still in fine fettle.

It all began with the singer ascending to the stage as his 14-piece band beating out the African-influenced Lion King/Graceland prototype that is Soolaimon.

What followed as a set which contained more certified hits than possibly any other show - maybe bar Simon and Garkfunkel - at this venue before.

And that's despite Diamond skirting some of his own standards (Shilo, Girl You'll Be a Woman Soon, Longfellow Serenade ... ) to make room for some recent stuff like Pretty Amazing Grace, Hell Yeah (basically his very own My Way, but not quite) and a sideline in covers from his new Dreams album.

Yes well, if this was Idol, we'd say that that he made Bill Withers' Ain't No Sunshine his own. But his portentous take on Midnight Train to Georgia didn't exactly work up a head of steam.

Thankfully he switched midway from his "subtle" - his words, read dreary - Dreams version of I'm A Believer back to its Monkees infectiousness half way through the song after talking a poll out front.

As were we warned with an announcement earlier, the show had no intermission. Though it did have You Don't Bring Me Flowers (Neil at wine bar table, rose in vase while backing singer neatly filled the Streisand role) which sent a fair few blokes to the gents and/or venue bars (I know I checked).

And like Blue Jeans up early, and later, America (from The Jazz Singer soundtrack and his earnest ode to US 20th Century immigration policy complete with what looked a video from the Ellis Island museum) showed some of Diamond's late 70s/early 80s songs haven't aged quite as gracefully as his earlier material (or weren't built to last in the first place).

While we're on minor quibbles, Diamond's previous New Zealand visit, an outdoor Wellington show a few years ago, was marred by poor sound. This one sure had that voice front and centre but for the early stages lacked a bottom end.It got one eventually, even if the mix stayed on the polite side.

But by the time Sweet Caroline was causing good times singalong mayhem among the near-12,000 crowd, this show's own VU meter was permanently stuck on "fun".

Especially when Diamond let loose on the country-rock'n'roll likes of Crunchy Granola Suite, Kentucky Woman, Cracklin' Rosie, Solitary Man and an air-punching version of I Am, I Said.

And after 100 splendid or so minutes, and going out on the gospel-rock of Brother Love's Travelling Salvation Show, Diamond waved his farewell as personal elevator lowered him from the stage, his work done, his greatest hymns sung, his own revival meeting over and the spirits of his many faithful lifted.

Couldn't ask for more than that.