Live Performance Reviews

Marillion

October 6, 2004

Irving Plaza, New York City

Until this concert, Marillion had not played in New York for about seven years (which is undoubtedly why this show sold out in a matter of days…)  Since I did not even know about Marillion until three or four years ago (at which time I bought their entire oeuvre and became their #1 fan in a matter of months!), I had never seen them live, and never expected to.  Thus, I was pretty “pumped” for this show.

Marillion not only did not “let down,” but performed what was unarguably the best, most polished and exciting show I have seen in many, many years.  And it had less to do with their staging or light show (though both were good; more in a moment) than with the power of their music, and the tightness and “urgency” of their performance.

The first half of the concert was devoted to their new album, “Marbles,” from which they played all but four songs.  They opened with the first cut, “Invisible Man,” an extended composition with multiple dynamic changes and moods.  The band, and especially Steve Hogarth – dressed in black pants, button-down white shirt, tight-fitting four-button black blazer, and spectacles – delivered what can only be described as a tour-de-force performance.  Hogarth’s energy was incredible, his approach powerfully dramatic, and his vocal control and delivery nothing short of spine-tingling.  (Indeed, given the screaming required in some sections, I felt certain his voice would never make it all the way through a two-hour concert - it did, and then some…)  So awesome was the band’s rendition of “Invisible Man” that, had they left the stage after it, I would have gone home satisfied.  Indeed, if the audience had not been standing (there were no seats), Marillion would have gotten an extended standing ovation after their very first number.

The band, with Hogarth on piano, followed this with “Marbles I,” the first section of the four-section “mini-drama” on the album.  This was followed by “You’re Gone,” a plaintive yet powerful song with an infectious beat and arrangement reminiscent of U2.  Marillion then played the lounge-tinged “Angelina,” a beautiful softjazzy song.  This was followed by “Marbles II” and then the happy-go-lucky sing-along “Don’t Hurt Yourself.”  Hogarth then took the piano again for “Fantastic Place,” a slightly melancholy and very mesmerizing number.  After “Marbles III,” the band launched into “Drilling Holes,” an aggressive rocker with a decidedly Beatles-psychedelic tinge.  After the fourth and final section of “Marbles,” Marillion did an absolutely astounding rendition of “Neverland,” which builds to an incredibly powerful, goose-pimply climax in which Hogarth provides his own echo, screaming and gesticulating wildly.  Again, the effect on the audience was amazing: they simply would not stop applauding.

After a five-minute break, the band came back to perform what amounted to another whole concert – a full 75 minutes of older material.  They opened with “The Bridge” and “The Big Lie” (from “Brave”).  After Hogarth’s piano intro to “The Bridge,” it was amazing to hear the entire audience start singing the song – even Hogarth was visibly surprised.  After this, the band did a fantastic, exciting rendition of “Quartz” (from “Anoraknophobia”), followed by a mellow, plaintive version of “Estonia” (from “This Strange Engine”).  Hogarth then sat at the piano and - to the audience’s complete shock, amusement and delight - began to play “Hey Jude.”  However, this was only a sly prelude to a nicely handled version of “Three Minute Boy” (from “Radiation”).  Then it was back to “Anoraknophobia” for a smoking rendition of “Between You and Me.”  The band then left the stage.

After wild applause and stomping, the band returned to play the title track of “Afraid of Sunlight,” and a fun, audience-pleasing-and-participating version of “The Uninvited Guest” (from “Season’s End”).  They then left the stage again.  After more applause and stomping, they returned to play the perfectly-titled “Beautiful” (imho, their best ballad), and ended the show with another audience-pleasing number, “Cover My Eyes (Pain and Heaven)” (from “Holidays in Eden”).

Throughout the show, each member of the band displayed prodigious proficiency, approach, and taste.  Mark Kelly provided only a few short solos, but his keyboard work – chords, textures, etc. – were critical to the band’s overall sound.  Ian Mosley’s drumming was tight, tasteful and dynamic.  Steve Rothery’s guitar work was nothing short of amazing.  Every solo, every guitar fill, fit perfectly.  And though there seems to be a growing Gilmour influence in his playing, he has his own style and approach.  Pete Trewavas’ bass-playing was, in a word, awesome.  As you watch and listen, you realize that Pete is the true “backbone” of Marillion.  He more than anyone drives the band, propelling it forward when necessary.  Steve Hogarth was, as noted, simply mesmerizing: it was hard to keep your eyes off him.  His dramatic approach is his own, but there are definite influences from Gabriel, Anderson (Jon), and even (as one person noted) Charlie Chaplin.  He draws you in to the stories and the music in a way that is inviting and compelling.  And, as noted, his vocal control is as good as any rock singer in the business – and better than most.  It was also clear that the entire band was having a great deal of fun, and very happy to be back in the States after such a long hiatus.

The sound in the venue was remarkably good; although Hogarth’s voice was sometimes “muddy” (some of which was due to his occasional penchant for dramatic mumbling), all the instruments were crisp and clear, and the balance was perfect.  As for their stage show, they clearly brought a minimum of equipment.  However, they used everything to maximum effect – there were no “lulls” in the show, either musical or dramatic.

My new concert buddy, threefates, and I also got a chance to speak briefly with four of the five members of Marillion after the show.  First, we spent a few minutes with Pete Trewavas, who was about as approachable and pleasant as anyone could be.  He stopped for photographs and autographs, and spent almost 45 minutes speaking with the dozen or so die-hards who waited.  We then got a few moments with Ian Mosley, whom I asked about influences (I’m a drummer as well).  He indicated that most of his influences were “jazz-oriented”: Rich, Bellson, Jones, Cobham, White.  Next, Steve Rothery spend a few minutes with us, and told us how thrilled he and the band were at the reception Marillion was getting in the States (Trewavas also noted this).  Finally, Hogarth appeared, and spent almost half an hour posing for photographs (he’s a real ham!), hugging everyone, and speaking with all of us.  Like Pete Trewavas, Hogarth is surprisingly approachable and patient, and joked with us, as well as thanking us profusely for our support.

All in all, it was one of the most enjoyable concerts and evenings I have spent in a very, very long time.

Finally, threefates noted that the band had a two-camera shoot going during the concert.  One can only hope that this means that there will eventually be a video from this tour.  If so, and you don’t get to see them live, that video will be a must-have.

What a great event!!!! It was my wife, Marty's first prog experience and she loved it. I gave her some IZZ to listen to a few days before we left and she said, "It reminds me of..." and started singing Roundabout. I thought, wow, she's hooked. On the way down Hwy 99 we listened to Ampersand, Asia (Not really prog, but close enough) and Spock's Beard (prep for Neal Morse, of course). 


Cal-Prog day!!!!! On to the venue: small, not too crowded.... wow, look at all the hippies and prog-nerds.... Was that Marijuana we smelled walking in? Memories, back in '76 I .......

Erik Norlander..... what talent.... no band..... cool Wall of Doom.... the singer looks like a cross between Arlo Guthrie and Kirk Hammett.... strong hair metal vocals. Lana Lane has power. Court of the Crimson King.... interesting take.... The Cello guy was cool.... gotta talk to him.

Bottled water and ..... look at all the CD's!!!! Bought Michael Shrieve "Two Doors" (anything with the late great Shawn Lane) and FM "Black Noise." Wandered over to the IZZ table and snatched up "Wombsong" from Brems. Found the Cello guy, Mike, claims he's a fan from San Diego.... talented fan, wot?

Show Call: back inside and meet Shawn Bishop.... nice guy. Introduction and a truly uplifting set from the East Coast Proggers. I kept laughing at the ease with which the boys pull off some tough changes. They played a tune I wasn't familiar with, "Crossfire" was played in a very inspired fashion.... powerful. Annmarie and Laura were stunning and sang with passion.
I kept checking the wife and she was enthralled. Cool.... Why does Tom keep meditating in the middle of Brem's solos? Planning his dethroning of Yes as the pathenon of Progressive Rock, no doubt.
John proves he's not JUST a bass player as he strangles a Strat, borrows some of Greg's kit to play percs and joins Tom on the keys... quite impressive, not to mention my wife checking him out and referring to him as the "hot one." Gag me already... bah!!!!

The interplay between Brian and Greg was exciting. Unfortunately, my fourth row, center stage view was not avantageous to watch the stick work. Greg sticks looked more like mallets from what I could see, and all but the well coifed head of Brian was hidden behind Tom's monitor. My ears told me what they were doing, almost an Alan White/Bill Bruford combo, without all the hoopla. Complimentary mayhem. Complexity with a groove? 

Brems "live" work is really stellar. I was very impressed. Where has this guy been all these years? It's hard to pin down his influences, he doesn't really sound like anyone else, Howe, Gilmour, Hackett, Hendrix, Holdsworth.... a taste of many styles. I wish he would have played some acoustic.... 

Mists of Dalriada, Double Bass and Star Gnoma Su were fun and chops heavy... but what struck the chord for my wife were the strong and well executed vocals, sweet harmonies and memorable melodies.... tunes that get stuck in your head. Magic. 

The Genesis medley capped a great set. I was sad to see it end. I guess they set was about an hour and a half, but it felt like 15 minutes to me.

I had a great time talking to the band, about music, beer and lyrics. Greg was very warm and funny, a proud dad and a real person. Brems was likable and engaging, but my West Coast ears are more attuned to Mexican Spanish than a Scottish brogue. "Baileys on the rooks" sounds good to me. Brian, hiding behind the beard, was very intelligent, articulate and above all, fond of Guinness. MAybe next time we'll get a chance to raise a glass. John was interesting and has a star quality, magnetic, which made it hard to talk to him, IMO - starstruck? Tom and Annmarie were charming and genuine. I would guess that Tom is a  classic type A individual, he didn't look comfortable sitting, mind constantly whirling like an over-charged hard-drive.

Next up: Enchant. A very professional band. They had done the lead guitar stomp.... stage stalking front man.... good drummer, funky bassist (I haven't seen anyone play a Factor Bass in 15 years) and a young Geoff Downes looking keyboardist. My only problem? Not my cup o' tea. I think I have an aversion to metal distortion tones. The band handle a few technical problem with some lively banter about the lack of beer and the cause of Jon Anderson's high vocal range.  Once Mr. Ott switched to the Tele and a softer, more natural guitar tone, my impression of the band rose. The worst part is that the best song they played was not theirs. A cover of Yes' Tempus Fugit was great!!! They nailed the bass and guitar parts to a "T." I didn't buy anything and felt like I had nothing to say to them, they played great, but ....... A shame, really. They rocked hard and put on a good show. My wife said she would have liked their set better had they preceeded IZZ. I agree.

Neal Morse took the stage with panache and even handled the technical problems in a fun and entertaining way. The auditorium was transformed into a jam seesion in my livingroom. Incredibly uplifting and nearly a religious experience (I guess that's Neal plan?). We were singing along to many great Spock's tunes, watching on the spot production with his Jam Band unit. Fun, inspiring, even self-depreciating.... call it what you will, but Neal's a true entertainer.  The encore with Ryo and Nick was plagued with techincal problems and Neal forgot the words to "the Doorway." He redeemed himself with a rousing rendition of "June."

Mike Keneally. Totally freaking crazed. He should have played earlier simply because that wild frenetic, complex type of music, which I love (Zappa fan, duh!!) takes a load of concentration. By the time they hit the stage, 10:30 or so, my wife was toast and I was running on empty... no beer, must have beer.... and I was feeling battered... like the last 4 miles of a marathon... too much, too much. I left at the beginning of "the Epic" so I don't know how it finished up. Burnt and yawning, we left. I did spy Greg in the back row with his eyes wide.... he looked intrigued.

On the way out we ran into Neal Morse giving directions to the woman running his table. I had a million questions I wanted to ask, but could only manage to say "thank you" and hold out my copy of "V" for an autograph. I felt like a dink for being too clouded to ask some pertinent questions, but, the bed beckoned like a siren in a storm. Fatigue enveloped me and, like a zombie, I staggered back to the Radisson and grabbed a well deserved Samuel Adams and crawled to the well worn mattress. ZZZZZZZzzzzzzzzzzzzzzzzzzzzzzz

Breakfast at Sophie's. The Enchant guys were eating, we waved, smiled, nodded.... Saw a couple other prog-neards eating, too.... waved, smiled, nodded.
As we headed back to the heat and dust of the San Joaquin Valley, I put Wombsong in the CD player. Beautiful.... a very personal and poignant recording. Marty sang Loch Lommand along with Brems guitar and I couldn't help but shed a tear... Great work Brems!!!!!   We listened to Sliver, I Move and Ampersand. As the last notes of "Star Gnoma Su" ended, we pulled into the parking lot of the Raley's store two blocks from home. Picked up some Cocktail sauce for the shrimp we provided for a 4th of July party. We were home, but our minds were on the terrific bands we had just left.... I guess I can now refer to my wife as my prog-spouse, eh? 

The Owl wrote: 21st Century Schizoid Band Variety Playhouse  Atlanta GA 4/23/2004 To say this Owl had his plumage blown off last night (4/23/2004) would be an understatement!

Owl.. I think you did a great job reviewing this show.. I saw them here at BB Kings in April.. and I thought they did a marvelous job. Ian is still the master of instruments.. and he's still got that look of pain in his face when he plays that makes you want to cry for him.

However, my only disagreement with you is Jakko's voice.  Although, I think he did an okay job on Catfood.. and some of the later Crimson  stuff like Starless.. I thought his ITCOTKC songs were going to kill me. Besides the fact I don't think anyone other than Greg Lake should be singing those songs..  He didn't even come close to replacing Wetton.. much less Greg.  Thank god he didn't do Moonchild.. or i would have just slit my wrists right there. I had a conversation with Ian later.. and he joked with me and said.."Ahh you know Jakko is Michael Giles son-in-law...".. I'm like so that gives him the right to slaughter Greg's songs...

The Magic Band - Paradiso, Amsterdam, June twentieth, 2004

I was a little disappointed... without the Captain himself, there was less Magic , but still, I can't deny they are fantastic musicians! It was a good concert, but a bit too 'normal' for my taste. They played a few pretty straight-forward blues songs (I guess from Safe As Milk, I don't have that one). The songs from Trout Mask were great! Hair Pie live!!! Odd time changes! Perfect! But I didn't like the vocals of 'Drumbo' French. But what a great drummer he is! And Rockette Morton was also very good! And Mantis did a fantastic guitar-solo!

Overall: Good show, I don't regret having bought the tickets, but the music was not as fantastic as on the records (I guess mainly because Van Vliet himself was not present).

Saw Yes in Glasgow on Sunday, a truly awesome experience. Can anyone fail to be moved by the opening notes of "Firebird suite"? The set list was the standard one for the tour, with a superb unplugged section to start the second half. It seemd after "And you and I" the audience were never going to stop applauding and cheering, it's astonishing how the band can make a song they music have played thousands of times still sound better than it ever did.

I suspect this will be their last tour for some time, and possibly the last ever for the "classic" line up. I hope I'm wrong, but "high the memory" anyway.

21st Century Schizoid Band

Variety Playhouse  Atlanta GA 4/23/2004

To say this Owl had his plumage blown off last night (4/23/2004) would be an understatement!

The venue was perfect ( www.variety-playhouse.com ), crisp sound, good line of sight, perfect volume and NO OPENING ACT!!

As the lights dimmed and the "Schizoid Intro" song played on the PA, our five musicians unassumingly walked onstage and proceeded to tear into "A Man, A City" (aka Pictures of a City)with a ferocity that defied their years. The twin saxes of Ian McDonald (alto) and Mel Collins (a growly, cavernous baritone) added a gritty menace as Jakko Jakszyk not only channeled 1970-era Fripp but really made it his own to boot. Drummer Ian Wallace was a powerhouse throughout the night putting forth the right mix of ferocity and intricacy with a great ear for detail. The rapid fire unison passages were no match for their passionate musicianship and obvious love for the long-neglected '69 to '72 Crimson songbook.

The hilariously demented "Cat Food" was next, with Ian McDonald doing his darndest to get those "laughing piano" figures across that were so essential to the original. Jakko had the unenviable task of not only reinterpreting Fripp's turn on a dime parts but also SINGING the fiendish melody lines. I dare say he rose to the challenge quite beautifully. Everyone looked like they wer really enjoying themselves attacking this "Beatles meets Cecil Taylor"-like bit of musical black comedy. A dissonant Ian McDonald ballad "Let There be Light (from his "Driver's Eyes" CD) followed, not bad actually, kind of begged for Paul McCartney to sing on it the more I think about it. Next up, the chilling "Cirkus" (from Lizard) had my jaw dropping in amazement with its mix of fragile beauty and horrific menace. Jakko's vocals here easily blew Gordon Haskell's away and the song really did come to life, one of the evening's best moments for me. Jakko, Ian Mac and Mel picked up flutes and played a cleverly arranged intro piece that led into "Cadence and Cascade". "In The Court of The Crimson King" was delivered with a majesty and ferocity easily matching the original studio version or even surpassing it. "Ladies OF The Road" that ever ribald black sheep of the Crimso catalog got a good thrashing. If it weren't for the obnoxiously sexist lyrics this would be an even more enjoyable Crimso piece for me. But even as I did my best to tune out the words (which ain't easy), the music revealed a rather mutated take on the blues filtered through Stravinsky. "Catley's Ashes" was a pleasantly soaring instrumental piece by Jakko which the band obviously enjoyed playing. Bassist Peter Giles, providing solid and tasty bass work stepped out front briefly and did a beautiful chordal piece on his Fender Jazz bass which led into "Formentera Lady". What surprised me was how much I liked this piece! To be honest, I actually did NOT like the original "Islands" version as it rather lazily wafted along with Boz's inept singing and lack of momentum. Here, it really came to life, as the song was given TEETH, far superior vocals and edited to just the right length, towards the end, Jakko did some very tasty wordless vocal flourishes as Mel Collins spun melodic gems from his tenor sax that really drew you in. This led into my other highlight of the night, "Sailor's Tale", retaining all the violence, menace and ferocity that made the original so cool. Peter Giles and Ian Wallace really kicked it into high gear as Ian Mac and Mel provided the eerie string and ominous brass backdrops, plus Mel investing the tune with some great Ornette Coleman-inspired alto sax early on. Jakko was having a blast with this one for sure as he attacked his guitar as though he had five minutes to live.

The last 3 numbers, "I Talk To The Wind", Epitaph" and "21st Century Schizoid Man" enjoyed renewed life with passionate, committed playing from everyone.

They encored with a heart-wrenching version of "Starless" and concluded with the McDonald & Giles piece "Birdman" which had a vaguely lullabye-like quality to it, sort of like tucking in their audience to bed after it had been terrified half-out of its wits at times.

If you love 70's vintage Crimson, you MUST see this band! They're way better than a cover or tribute band, they OWNED these songs! As the band signed my poster after the show, I made it a point to thank all of them for bringing this great music back to life and messing me up for life at age 15 in the best possible way!

Band: The Church

Date: 3/8/04

Location: NYC

Based in Australia, The Church - Steve Kilbey (bass/lead vocals), Peter Koppes (guitar/vocals), Marty Willson-Piper (guitar/vocals) and Tim Powles (drums/vocals) - came to the progressive genre somewhat late in their career.  However, they not only "made up for lost time" by putting out five or six highly creative, compelling progressive albums in the past decade or so, but they are now considered an unarguable standard-bearer of the genre.

Prior to taking the stage, I noticed that among the songs that played over the P.A. was Gentle Giant's "Pantagruel's Nativity" (from "Acquiring the Taste").  Leave it to The Church to include the magnificent GG on their pre-show tape!

As the lights went down, the audience heard (over the P.A. system) the audio of the scene from "Blade Runner" in which Deckard (Harrison Ford) is manipulating a photograph on his high-tech TV.  This scene leads into the spooky, quasi-paranoid "Blade Runner" theme by Vangelis.  It was at this point that the band took the stage.  Very dramatic, and beautifully executed.

The band opened with a powerful rendition of "Sealine" (the opening track of their new, highly acclaimed album, "Forget Yourself"), moving immediately into an equally excellent version of "Telepath" (from the same album).  Folllowing this they did an amazing version of the poignant "Radiance" (from "After Everything Now This").  Then Willson-Piper sang lead on the hypnotic "Chromium" (from the same album).  After this it was back to the new album for "Nothing Seeker" and a beautiful rendition of "The Theater and Its Double," including masterful acoustic guitar work from Willson-Piper.  The band then took a "slither" (Kilbey's word) through the past with the driving "Reptile" (from "Starfish").  Then back to the new album for the gorgeous "Maya," followed by a beautiful rendition of "Appalatia," with Koppes giving a sensitive lead vocal.  Then it was back to "Starfish" for two songs: the propulsive "Destination" and the hit song, "Under the Milky Way."  The band then played the hypnotic "Numbers" (from AENT), followed by two from the new album: the driving "See Your Lights" - with a great lead vocal from Willson-Piper - and the absolutely amazing "Song in Space."  The band closed the set with an extended, super-rocking version of "Tantalized" (from "Heyday").  After a five-minute standing ovation (well, actually, there were no seats, so everyone was standing...), the band returned and played a slightly truncated version of "Cantilever" (a 10-minute song from the new album), followed by an amazing version of "Myrrh" (from "Heyday").  They then closed the show with an extended version of "You Took" (from "The Blurred Crusade").

Overall, the show was extraordinary, and ranks very high on my list (and if you've seen the "favorite live progressive show" thread, you'll know that my list is full of great shows!).  Kilbey's voice was in fine form - at various times powerful, breathy, hypnotic, understated, reflective - and his bass playing was top-notch.  Powles' drumming was equally exceptional: solid, propulsive, compelling.  Willson-Piper's guitar playing was nothing short of amazing: whether playing electric or acoustic, driving or sweet, "written" or improvised, not a note was uninspired or out of place.  Koppes' guitar playing was also top-notch, and he had the added job - done with exceptional proficiency - of providing the "keyboards" via a pedalboard that allowed him to play the guitar, but sound like a very real synthesizer.

The band seemed to be having a great deal of fun, in spite of an incessant buzz that never went away, and a couple of technical glitches that caused them to ad lib for a few minutes.

Opening for The Church (for the second tour in a row) was Sea-Ray, a Church-influenced sextet including two guitars, keys, bass, drums and cello.  These guys (and gal) are quite good (the drummer is amazing), and I wouldn't be surprised if they end up listed on the progarchives site sometime in the near future.

Overall, a thoroughly amazing evening, one that I will not soon forget (myself).

Herewith, a new thread in which we can provide reviews of recent live shows by prog bands.  Although there are no "rules" per se, try to keep reviews to reasonable lengths.

Have fun!