The renowned Californian icons the Eagles return to Liverpool for their 50th Anniversary and the final Anfield concert of 2022.

It’s been a couple of years, feeling somewhat a lifetime ago, since the Eagles have stepped into the sound city, and on a lovely Monday evening they return to Liverpool to play the final Anfield concert of the year.

Firstly, ahead of the Californian lot, the Alabama-based Little Big Town took to the stage as the support for the evening, making their Liverpool debut in the instance.

The band don’t often jaunt over here, other than niche country festivals in London, so it’s fine sight to see.

Their forty-minute set features pieces from across their catalogue, but mostly their recent effort, 2020’s Nightfall.

Their intro, “Next to You“, is a slow and hazy song, slowly warming the crowd to Little Big Town‘s sound. The rest of their set continued to grow, never making a splash to the incoming crowd, but a smart opening choice.

Their version of Taylor Swift‘s “Better Man” sits in the middle, before wrapping up with the combo “Girl Crush“, and their hit “Boondocks“.

Shortly after 8pm, the Eagles finally took center stage at Anfield, with their usual opening offering, the harmony-heavy Steve Young cover “Seven Bridges Road“.

After a quick swap-over, the thumping bass/drum intro to “One of These Nights” rings out.

“We’re glad to be here,” Don Henley notes to the crowd. “At this stage of the game, we’re glad to be just about anywhere. There’s not gonna be much talking. No fireworks. No wind machines. No butt-wagging choreography. Just a bunch of guys with guitars.”

Don Henley addresses Anfield.

“New Kid in Town“, “Witchy Woman” follow wonderfully, sounding as lax and breezy as usual. The Eagles, much like last time in the city, sound perfect. There’s a air of care with simply how great they sound this far into the game.

That being said, one of America’s greatest songwriters Vince Gill is a key-piece to how wonderous the outfit sounds, as Henley even says during his introduction.

His diligence and care in taking lead during the high-flying “Take It to the Limit“, and “Lyin’ Eyes“, the latter of the two leaving Gill visibly joyous at Anfield‘s singing.

The Eagles soaring and roisterous hero Joe Walsh takes over, entering into The Warriors’ end theme-turned-Eagles-deep-cut “In The City“, backed-up by The Long Run cohort “I Can’t Tell You Why“, sung by bassist Timothy B. Schmidt.

The duo showcases The Long Run in its form, with the darkened city-esque sound that palatably shows the variation of the Eagles.

“Best of My Love“, and “Tequila Sunrise” are next-in-line, before we’re treated to a welcome surprise, as Deacon Frey is introduced.

The son of Eagles‘ founder Glenn Frey took a break from touring with the Eagles after their previous tour, but appears to be welcome at select dates.

Sporting a Liverpool Football Club shirt, Frey takes center with his father’s key Eagles pieces, a cover of Jack Tempchin‘s “Peaceful Easy Feeling” and the iconic “Take It Easy“, that lifts Anfield into a cheerful uproar.

“Those Shoes” is sandwiched between, before Henley‘s solo effort keeps the crowd alive with “The Boys of Summer“.

As-promised by Schmidt earlier, Joe Walsh takes center-stage yet again, with his wild and crowd-ready “Life’s Been Good“, a signature hit of his solo work.

Hotel California cut “Victim of Love” hits next, as we’re in the rundown, the James Gang‘s “Funk #49“, and their last No. 1 single, “Heartache Tonight” crop-up, the latter of which feels like the biggest hit of the night, before the finale of the set, “Life in the Fast Lane“.

Debatably an encore, the Eagles waste no-time in returning to the stage, as Anfield comes unglued with “Hotel California“.

The atmosphere is euphoric, like a European night at-home, and the feeling that you’d want from Anfield‘s concerts.

Walsh stands out once again, with his Eagles‘ loving hit rocker, “Rocky Mountain Way“, tearing his way across the stage late in the set.

Counteracting the wild tones of Joe Walsh‘s guitar, comes the somber and beautiful “Desperado“, most likely the best composition that Eagles ever made. The Anfield crowd sung every word, in a true goosebump-issuing fashion.

Finally, to end, Deacon Frey returns to his post to preform Jack Tempchin‘s “Already Gone” to close out a wonderful evening.

The Eagles somewhat test what you think of a “stadium concert”, if you wish to have the grand stage set-up, and the curated video walls ala Elton John, then you’d be out of luck. Otherwise, the Eagles simply ditch any of the visual appeal and play like the perfected, legendary outfit that they are.

Words by Jack Cinnamond. Photography by Jessica Jayne Sharpe.