Counter Culture

The Rise of the Eagles is one of those shows that sneaks up on you and leaves you richer for the experience. I went in knowing the music, of course, and the band’s reputation for partying hard, but not much more than that. At the end, I felt I had travelled with them, understood a little of their story, and seen why they remain such an enduring presence in rock.

The Night Owl Band bring enormous respect to the material. Their playing is tight, their harmonies strong, and there’s a real work ethic behind what they do. Nothing is casual here, and that professionalism shines through every note. They balance storytelling with performance so that the songs are not just strung together but woven into the arc of The Eagles’ rise.

Alex Beharrell takes on the central male vocals with confidence and range. His voice has that slightly raw edge which suits the material perfectly, but he can also find the softer notes when the song calls for it. He doesn’t try to copy Don Henley or Glenn Frey. Instead, he makes the songs his own, while still keeping them recognisable. He also proves himself an excellent guitarist, handling the intricate leads and rhythm parts with ease. His playing drives the songs forward, sometimes soaring, sometimes understated, but always spot on. At one point I leaned over to a friend and whispered, “that white guy can play guitar,” and I meant it.

A highlight for me was Sara Leane’s performance of Desperado. It was delivered with a clarity and emotional weight that gave the song fresh life. Her voice carried the sadness and yearning at the heart of it, and it was one of those moments where the whole audience seemed to pause and lean in. The band supported her beautifully, letting the song breathe.

Another standout was the harmony performance Seven Bridges Road, with its Southern mysticism. It caught the room in a moment of stillness. The blend of voices was tight and resonant, and the emotional pull of the song came through clearly. It was one of those rare moments where the audience seemed to hold its breath.

The song itself has a history worth knowing. It was written by Steve Young in 1969, inspired by a real road in Montgomery, Alabama — a winding stretch with seven bridges and moss-draped trees that felt almost otherworldly. The Eagles recorded their version in 1980 for their Eagles Live album, turning it into a showcase for their signature five-part harmonies. They often used it to open their concerts, and you can see why. The lyrics — “There are stars in the southern sky / Southward as you go / There is moonlight and moss in the trees / Down the Seven Bridges Road” — evoke a kind of longing that’s hard to shake.

What struck me most was how much more I came to appreciate the craft and complexity behind The Eagles’ music. The arrangements, the interplay of voices and instruments, and the sense of striving for something beyond the ordinary. I also began to realise just how many different styles and genres The Eagles could master — from country rock and folk ballads to full-throttle guitar-driven anthems. They didn’t just dabble; they owned each sound with conviction.

This wasn’t just a trip down memory lane. It was an education in what made the band great and a reminder of why the music endures. The show has the polish of a tribute but the spirit of something deeper. It leaves you with a renewed respect for the songs, for the musicianship of those performing them, and for the legacy of The Eagles themselves. It’s a fine piece of work, and The Night Owl team deserve all the credit for making it feel both fresh and true.

Reviewed by Pat Harrington

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