Adele performs in Hyde Park, London in July. It was one of his only shows before launching his delayed residency in Las Vegas on Nov. 18, 2022.

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November 19, 2022

LAS VEGAS — Midway through her first song on the opening night of a residency that many never expected to materialize, Adele uttered the words, “I’m so happy.”

As the adoring crowd of 4,100 indulgent fans blasted the chorus of – naturally – ‘Hello’ back to the British superstar on Friday, Adele smiled, her nerves visibly relaxing.

Yes, she was happy.

Her followers – many of whom have spent thousands of dollars for bragging rights for attending the first of 32 “Weekends with Adele” concerts at Caesars Palace – were happy.

And whatever production concerns prompted Adele, 34, to cancel her original slate of shows in January less than 24 hours before kickoff, well, her instincts were foreboding.

This revamped artistic expression is a spectacular two hours long even for casual Adele fans (although, given the price of tickets, this multi-generational audience was filled with the most diehard enthusiasts).

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Between the brilliant video elements commandeering the length of the huge Colosseum stage and his vocal flourishes on songs such as “Take it All” from 2011’s second album, “21” and the gently galloping hit, “Water Under the Bridge” , Adele’s presentation delighted.

She didn’t dodge the apologies either.

“Thank you so much for coming back to me,” she told the crowd after singing a sublime “Easy on Me,” performed as she sat next to pianist Eric Wortham II.

It was the first of several mea culpas to stiffen the multitude of fans who had traveled from all over the world to attend his initial residency.

But Adele was blatantly sincere when she said at the end of the show that the cancellation “was the worst feeling I’ve ever had, but the best decision I’ve ever made”.

What emerges from “Weekends with Adele” is that each show will be different thanks to its unfiltered and laid-back interactions and storytelling.

Her look was purely glamorous – a figure-hugging dark dress (complete with black socks which she playfully displayed) and luxurious honey-colored hair spilling over her bare shoulders.

But the vibe was “having a few pints in an English pub” — bawdy, emotional and completely improvised (“Were you at a pool party?” she teased a few stragglers). She attributed her chatter to nerves, but any Adele sidekick knows she could spend the full two hours of the show telling hilarious stories laced with profanity.

Although there was a lot of interaction with the audience (fans on the lower level were treated to her exit for a chat before singing “When We Were Young” in the aisles), Adele clearly wanted the accent of this show relies on musicality.

On every song, whether it’s a newcomer (“I Drink Wine,” from his Grammy-nominated album “30”), or a classic from the catalog (“Send My Love [To Your New Lover]’, performed under bright pink lighting), Adele’s voice was as flawless as her sculpted brows and French manicure.

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As the show opens quietly, with only Adele and Wortham on stage, its eventual introduction of its six-piece band and, during the climax “Skyfall”, a 24-piece string section, makes it clear that despite the spectacle , the essence is the song .

Adele remained in the same dress throughout the show, leaving the stage only briefly after around 90 minutes to make way for the production elements that accompany “Set Fire to the Rain” – a stage-length stunt, the fire crashing into it from the ground and a drowning piano.

The giant stage also includes walls of video screens that wrap around the room – Adele’s expressive eyes and bright smile made frequent appearances – and sliding platforms for band members.

Adele deftly peppered the 20-song setlist with some of her own favourites, such as the soul-pop vocal triumph that was ‘God Only Knows’, as well as the must-have tracks ‘Rumor Has It’, which pulsated with red lighting. , and the eternally painful “Someone like you”.

But she also imbued her song selection — and placement — with deliberation.

A loud “Rolling in the Deep,” its punch march complete with Adele and her three backing vocalists snapping their hips, seemed like an obvious finale.

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Instead, she leaned into “30’s” closing track, the majestic “Love is a Game.” The combination of strings and organ, a stage bathed in pastel colors, and heart-shaped confetti spilling from the rafters imbued the song with cinematic beauty.

As the band navigated the song to its final notes, Adele disappeared in a puff of pixie dust, a musical mirage fans finally got to see.