From the opening assault of "Addicted to That Rush," followed by "Take Cover" and "Price You Gotta Pay," it is immediately apparent that Mr. Big has no intention of turning this farewell tour into a sentimental exercise. The energy level remains remarkably high throughout the evening, and nowhere is that more evident than when the band turns its attention to Lean Into It, performed in full and in sequence exactly thirty-three years after its release.
Time has done nothing to diminish the album's strengths. The dazzling instrumental gymnastics of "Daddy, Brother, Lover, Little Boy," complete with the famous electric-drill solo, still raise smiles, while songs such as "Alive and Kickin'," "Green-Tinted Sixties Mind" and "Just Take My Heart" serve as reminders that Mr. Big always possessed far stronger songwriting instincts than many of their shred-happy contemporaries. And yes, "To Be With You" still receives the kind of reaction reserved for songs that have long escaped their creators and entered the collective memory.
The musicianship, unsurprisingly, remains extraordinary. Nick D'Virgilio steps into the role once occupied by Pat Torpey with authority and sensitivity, while also contributing valuable vocal harmonies. Eric Martin may no longer possess the effortless range of his youth, but he compensates with experience, charisma and a genuine emotional connection to the material, aided throughout the evening by Michele Luppi's vocal support.
Billy Sheehan continues to defy both physics and common sense. His bass playing remains a spectacle unto itself, equal parts virtuosity and exuberance. Beside him, Paul Gilbert reminds everyone why he remains one of the most respected guitarists of his generation. Beneath the humour, the colourful outfits and the occasional absurdity lies a player of astonishing precision and imagination.
Yet what ultimately distinguishes Mr. Big from many of their peers is not technical ability. Plenty of bands can play complicated music. What makes this group special is the sense of joy that permeates everything they do. Whether swapping instruments during a spirited rendition of "Good Lovin'" or tearing through the closing covers of "30 Days in the Hole" and "Baba O'Riley," they perform with the enthusiasm of musicians who still genuinely enjoy one another's company.
That camaraderie has always been at the heart of Mr. Big. The chops may have attracted attention, but the chemistry is what made people stay.
If this truly is the band's final Paris performance, it serves as a fitting conclusion. Loud, playful, technically dazzling and utterly unpretentious, exactly the qualities that made Mr. Big such a singular presence in hard rock to begin with.
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