HE’S one of music’s great survivors, a man whose story is almost as famous as his music.

But Brian Wilson’s 60s Beach Boys sound – the melancholy magic of Pet Sounds to the pop alchemy of Good Vibrations – has ensured him a place in musical mythology, so it’s no surprise this Greatest Hits Show sold out so quickly.

California Girls was first, that orchestral keyboard intro getting Wilson and the whole crowd smiling, before a first wave of early and mid-60s hits from Dance Dance Dance to Surfer Girl – the first song he ever wrote.

Wilson seemed to be enjoying himself far more after the interval, from oldies to a poignant suite from latest album That Lucky Old Sun.

Wilson’s at his happiest with the crowd on their feet, especially for the long-awaited Pet Sounds excerpts Sloop John B and Wouldn’t It Be Nice.

Wilson led the band into the still heavenly harmonies of God Only Knows, the inner producer in him still orchestrating the voices with waves of his hand.

And the set closed with Good Vibrations,a rousing crashing end that sees him leave the stage to rapturous applause.

Wilson’s the headline name but this show works because of his powerful and sympathetic backing band, who looked like they were having a world of fun.

As for Wilson? You have to say he doesn’t always look comfortable on-stage, sat at a keyboard he rarely plays. Yet just as often he’s smiling, clapping along, even gesturing along with the lyrics.

There was a surprise at the start of the first encore with a version of Eight Days A Week – the crowd loved it, though Wilson stayed largely quiet. But from there on it was singalong all the way from Johnny B Goode through to Surfin’ USA and Fun Fun Fun, with hardly a soul staying in their seats.

Then he left the stage again, returning for a final encore of Love and Mercy. It’s a low-key, even soppy, ending, but he can rightly bask in the warmth of the crowd’s affection.

ALISTAIR HOUGHTON