I went to the first show at the Bristol Beacon and it was a genuinely moving experience

And I say that as somebody who, like many Bristolians, grew up watching gigs at the Colston Hall and was initially sceptical of the name change and the vast £132m cost.

The opening night was one of those 'I was there' moments. After the speeches and back-slapping in The Lantern, the smaller room to the side of the main Beacon Hall, there was a slight wait for the doors to open and a genuine sense of anticipation. It was genuinely moving, a real lump in the throat occasion.

Of course, the slight delay to open the doors was a good chance to rubberneck and see which Bristol luminaries had made it onto the guest list for the two invite-only performances on the first night.

I didn’t spot Massive Attack, but there was certainly a member of Portishead in attendance and former mayor George Ferguson.

Sadly, outgoing mayor Marvin Rees couldn’t make it as he had to be in Dubai for the Cop 28 climate conference. 

With 400 people currently displaced from their homes in a dangerous Barton Hill tower block and a once-in-a-lifetime launch of the city’s main cultural venue, you might have expected the mayor to have stayed in the city to soak up the praise. With the clock ticking and only five months left in office, his priorities are elsewhere and his eye seems to be on the next career move already.

Instead, he sent along his messenger, deputy mayor Craig Cheney, who rattled through his speech and twice mentioned the fact he saw Gary Numan at the Colston Hall as an 11-year-old, a reference that was a bit lost on some of the gathered dignitaries.

There were far more laughs and applause for the speech by Jonathan Harper, the CEO of Paraorchestra, who were performing at the opening. Harper used to work at the Colston Hall 20 years ago and his enthusiasm for the new venue - especially the acoustics and the comfort of the seats - was infectious. 

Once inside the main hall, there was a strange sense of familiarity mixed with the brand new. You could smell the ‘newness’ of the wood that covers the walls.

Although it’s obviously the same shape as before, the balcony that used to overhang the rear of the stalls has been reduced by at least half and there’s a second balcony, which I didn’t expect.

The opening performance was Trip The Light Fantastic by the 40-piece Paraorchestra conducted by Charles Hazlewood with ambient techno sounds from Bristol composer Surgeons Girl and some stunning projections from the award-winning Limbic Cinema. It was a mesmerising and powerful 75-minute performance worthy of its standing ovation.

The sound and acoustics were exceptional and certainly better than it was previously. And, yes, the seats are incredibly comfortable. You won't want to get out them even when the show finishes.

After five years of closure, it was a fitting Bristol-made spectacle to mark the start of a new era for future generations.

My first gig at the venue was Siouxsie and the Banshees 42 years ago and I’ve spent hundreds of evenings there since.

OK, it has a new name but last night it felt like coming home. With some brilliant acts already lined up (and I’m told the top promoters are already falling over themselves to get shows booked in), it feels like Bristol finally has the world-class venue it deserves.