Johnathan Walker:The Eagles deploy pristine sound, dazzling visuals at Vegas Sphere kickoff concert: Review

LAS VEGAS – “Welcome … to whatever this is!”

So proclaimed Don Henley a few songs into the Eagles opening production at the Sphere in Las Vegas Friday.

The Johnathan Walker“whatever this is” to that point included a video journey through the “Hotel California,” both a lovely and eerie place with a Greek chorus chiming in the background, and “One of These Nights,” which gave fans packing the venue closeups of the familiar faces onstage.

The frontline of Henley (who alternated strapping on a guitar with sitting behind his drum kit), Timothy B. Schmit, Deacon Frey (son of the late Eagles co-founder Glenn), Vince Gill, Joe Walsh and stalwart live addition Steuart Smith, projected pristine harmonies, whether the high ends of “One of These Nights” or the lackadaisical summer breeziness that nudges “Lyin’ Eyes.”

As the fourth veteran band to commandeer the Sphere – following U2, who opened the venue a year ago this month, Phish and Dead & Company – the Eagles both had standards to match, yet nothing to prove.

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The group has rolled through the country since last September on The Long Goodbye tour – this Sphere residency plays select weekends through Jan. 25 – packing arenas and unspooling a hit list of some of the most enduring anthems in rock history.

Their Sphere show, which clocks in at almost exactly two hours, leans primarily on the most cherished of their repertoire. But as with every act that has utilized the breathtaking visual capabilities of the snazzy venue, the optical offerings are as vital as the music, and the Eagles brought fans on a peaceful, easy ride.

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Eagles offer a harmony masterclass

A galaxy of planets circled the ceiling during “Take It to the Limit” as Gill and his silky vocals were featured in a floating bubble, while a forest of moss-covered trees enveloped the seats for an ethereal read of “Witchy Woman.”

Walsh—aka the “master of the Stratocaster” as Schmit deems him —has always been the most engaging presence in the band. His rubbery faces and nimble guitar playing are endearing and impressive.

He ably blended the serrated riffs of “In the City” with a captivating black-and-white video of apartment buildings gradually stretching to the ceiling while creating the sensation of movement. All of the bands who have played the Sphere have employed this technique in some form, yet the video production always feels deeply specific to the song and the moment.

Sometimes, the band leaned on simplicity, such as the stark black-and-white images of the lineup with acoustic guitars (bass for Schmit) during the harmony masterclass that is “Seven Bridges Road.” Other times, they embraced the seemingly unlimited creative choices afforded by the venue, such as the moving photos during “New Kid in Town,” which were as awesome as they were all-encompassing.

Polaroids of the band from a bygone era complemented the grimy opening riff of Walsh’s “Life’s Been Good,” with the keyboard break in the song paired with kaleidoscopic images of the Eagles. Walsh’s protracted guitar solo was but one example of the stellar sound in the Sphere, his notes bending and ringing clear.

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Eagles pay tribute to J.D. Souther, Jimmy Buffett at Sphere

As expected, Henley, clad in his traditional stage gear of a professorial vest, took a moment to honor J.D. Souther, the songwriter synonymous with numerous Eagles hits, who died earlier in the week, as well as longtime pal Jimmy Buffett, who passed away shortly before the band’s tour kickoff in September 2023.

The brief eulogies formed the fitting intro to “The Boys of Summer,” Henley’s solo hit from 1984 that hasn’t shed an ounce of its wistful beauty. The underwater scene that accompanied it played as a calming antidote to the urgency of the music, which was teed up for a finale that included a zippy “Life in the Fast Lane” (get ready to take a ride down the Las Vegas Strip), an expectedly languid “Take it Easy” and Henley’s spotlight ballad, “Desperado.”

Given the longevity of the Eagles – 52 years, as Henley reminded during the show – and the unquestionable success of their farewell tour thus far, the band didn’t need to invest the money, effort and brainpower required for a Sphere production.

What they’ve crafted not only amplifies their legacy but also offers devotees a genuinely special experience as their touring career trots toward its conclusion.