THERE can’t be many artists who get a standing ovation lasting several minutes just for walking on to the stage but that just shows the reverence Jackson Browne in held in by his fans.

Certainly the warmth of the reception in Manchester seemed to take the singer and songwriter aback somewhat as he had to restart opening number Just Say Yeah having got the words wrong.

But that was the only hiccup in a quality show in which he and his trusty band of musicians served up 22 songs in a show lasting almost two-and-a-half hours.

As someone who epitomises West Coast cool, Jackson Browne isn’t an ‘in your face’ frontman. He prefers to let his songs do most of the talking although he did engage in quite a lot of between song banter sharing a few stories and trying to understand Northern accents as fans shouted out song requests.

When you have a back catalogue as strong as his, you can afford to just let the music do its magic.

Songs such as Sky Blue Black, Rock Me on the Water and Doctor My Eyes which closed the first half of the show just demonstrated why this man is a member of the Rock and Roll Hall of Fame.

One of the best things about going to see genuine class acts is that they invariably surround themselves with some fantastic musicians.

One of the highlights for me from the Manchester show was the pairing of guitarist Val McCallum and lap and pedal steel player Greg Leisz.

Often they would dovetail for gloriously laid back solos, full of depth and warmth.

McCallum, who, incidentally, is the son of Man From Uncle actor David McCallum, had a selection of vintage guitars – I counted seven – and used them to full effect. He didn’t indulge in face-melting, foot on the monitor solos, but instead had a languid, easy style which just added to the melody.

The set also included several songs by artists Jackson Browne has worked with and admires.

In introducing Randy Newman’s quirky Piece of the Pie in which Browne himself is referred to, he said “it’s a dissonant song which means if we get it wrong you won’t know”.

Several times he introduced songs which highlighted the current political situation in the United States - Carlos Varela’s Walls and Doors was a particularly apt message which struck a chord with an audience living in a post Brexit world.

Highlights for me including a cover of Warren Zevon’s Carmelita, surely one of the most beautiful songs about heroin addiction (if such a thing is possible) and In the Shape of a Heart.

An encore of Take it Easy blended into Our Lady of the Well and then the evening ended as it began with a sold out Bridgewater Hall crowd on their feet. He deserved nothing less.