A range of cities and venues hold a special place in the unique history of Marillion – not only in the mind of the fans but in the minds of the band. However, there can be no denying that the spiritual home of the Marillion lies in Aylesbury. Forging a cult following in the early days, the band spread the word from this Buckinghamshire town and found their way into the hearts and minds of many young rock fans. Aylesbury Friars played an important role in the promotion of Marillion in the area and late in September 2022, they returned for another appearance. The physical venue may have changed but the love for the band has not.
After 40 years into a career, only a small number of bands produce an album which may be counted amongst some of their best. With An Hour Before It’s Dark, Marillion have reached the heights of such an album. Born out of the pandemic, the songs already have a haunting, evocative quality and playing such an album in its entirety (in order) on tour is a brave move but one that Marillion have taken several times before. It is to be an incredible journey indeed.
As glorious mauve and lilac light bathes the stage, the crowd settles and a contemplative anticipation pervades every section of the venue. The band - a few dates into the tour - from the first moment are tight, together and exuding confidence. Before the opening track, Be Hard On Yourself, is even half way through, the band are smiling at each other – safe in the knowledge they are still at the top of their game – each member a master of his own instrument. Climate change is not an easy topic to tackle, particularly in song, but the insistence in the lyric and the passion of h’s delivery that each and every person needs to take responsibility and take action is impossible to ignore. The message is driven home by an amazing performance by Pete throughout the track.
Between the first two songs, h tells us that while he tried not to write about the pandemic, it was somewhat inevitable, then adding that the next album would “probably be about the Russians” – another difficult issue, that at the time of writing, remains worrying unresolved.
One of the joys of live performance, is that tracks take on new meaning and life in such an environment as this - Reprogram the Gene is one such track. Building on some of the messages within Be Hard on Yourself (as with many tracks on the album that seem to reference each other) as well as h’s thoughts on invincibility, the song drives forward with power from Steve Rothery and another passionate vocal delivery. It has an amazing energy in this form and the crowd are receptive and enthusiastic throughout.
Only a Kiss leads directly into Murder Machines and h stalks the stage - delivering every line with an urgent barbed savagery. Being a singer and frontman is a difficult task but h captivates the audience with his delivery and does not let go for the entire concert. Three songs disappear in a moment and the enthralled audience are completely in unison with the band.
Marillion have produced some amazing moments, songs and lyrics throughout their long career and next we are treated to one that contains all three - The Crow and the Nightingale. It is a moving, heart-rending piece - redolent of a mournful ballad. It is no secret that h has a long relationship with the work of Leonard Cohen and the track (inspired by h’s reading of The Book of Longing) is achingly fragile, ethereal yet magnificent. During his introduction, h tells us how the band “created this beautiful music” and it is said with a heartfelt camaraderie. The use of Choir Noir within the song is perfectly balanced and blends flawlessly with the rest of the band. Mark makes excellent use of piano throughout An Hour Before It’s Dark and here it is particularly effective. Luis Jardim has joined the band throughout this tour and his percussive moments are plentiful but on The Crow and The Nightingale they seem to add even more atmosphere in a subtle but completely effective manner. Steve Rothery’s flair, colour and emotion are weaved throughout the DNA of the new album and his delivery of the solo is amongst his most accomplished.
Sierra Leone is a track that (for me at least) took the longest to click into place upon hearing the new album. Sections of the song worked better than others. Live, these coalesce into a wondrous delivery of this intoxicating and inspiring song. The story of the protagonist has sparked much discussion amongst Marillion fans as to whether they would sell the diamond themselves; nevertheless, it is a fascinating concept. A respectful audience allow the band to weave their tale and the song receives a fantastic reception upon its conclusion.
Of all the tracks on An Hour Before It’s Dark, Care has received the most attention and in many ways, the most plaudits. It has rocketed towards the top of many fans favourites lists and caused more fans to “have something in their eye” than for many years. It is a perfectly constructed piece and in h’s words to the audience, “the ultimate death song”. If Marillion really are a band which writes about death and water, he has never spoken a truer word. The four sections segue faultlessly together and build to an epic conclusion. h’s vocal delivery throughout the concert is one of the strongest I’ve ever seen in 80+ shows and his falsetto during Care is pitch perfect. The lighting during this tour has once again been incredibly effective and the ring of lights around h during the second section of Care are one such example. On the album, it feels as if Steve Rothery has a new lease of life and his work throughout the album reflects the fact that he is still one of the best guitar players in the world .During Every Cell, the delivery and the swelling dynamics do indeed bring a tear to this reviewer’s eye. With Angels on Earth the band raise the emotion in the room even further and the lyrics (which in many ways remind me of the message in Nobody’s Hero by Rush) bring to mind recent events in a crescendo of awe-inspiring magic. It caps yet another bravura performance during an already incredible evening.
It seems implausible that the entire album has passed so quickly and there is a rapturous reaction from the audience at its conclusion. An Hour Before It’s Dark is such an emotional piece that it would be easy to be completely drained by the end; however, this is only half the show and the band dive in to a selection of older material. It could be argued that, away from the weekends, the band does not take as many risks with the setlist as they could but when the songs are as strong as the one we hear tonight, it is difficult to argue against their choices.
While the Somewhere Else album has divided fans for 15 years - I for one think it’s pretty great – what hasn’t divided them is that the title track remains a fan favourite. The incredibly personal lyrics and a band on fire lead to one of the most intense performances of the song I have witnessed. h is singing better than ever and it is clear he is feeling every syllable he delivers. There is no let-up in atmosphere as we are treated to a truly breath-taking version of Wave / Mad and Ian demonstrates he has lost none of his powerful, precision or technique. This segues directly into the title track of one of their best albums – Afraid of Sunlight. It remains one of the songs that defines the band’s sound 27 years after its release. Magnificent reds and yellows envelope the stage in its own sunlight and the shadows of the audience’s outstretched arms dance on the wall.
Mistakes are rare at a Marillion concert and normally end up in some type of comedic exchange or knowing look between the band. On this occasion, Mark misreads the setlist and plays the opening chord to The New Kings as the rest of the band are about to launch into The Great Escape. A few on stage comments, hilarity in the audience and h declaring, “Come on Mark, I’ve got to get in the f**king zone” are moments to remember for the crowd. h (and the rest of the band) do indeed get in zone and The Great Escape washes over the gathered fans with all the power, emotion and force it first exerted nearly 30 years ago. It ends the main set with an elated crowd knowing they have witnessed another brilliant performance.
Although The New Kings (at the right point in the set this time) is just 6 years old, it unfortunately appears even more relevant than at the time of release as the cost of living crisis maintains its hold on the country.
It is at this point that something takes precedent over the next song. Outside the venue, throughout the day, had stood a van collecting donations for the Aylesbury Foodbank. A range of volunteers had organised the event in conjunction with Lucy and the band. Over a tonne of goods were collected and the band also made a sizeable monetary donation to the cause. While it is upsetting that such an event needs to take place in modern society, Marillion fans and other passers-by answered the call. David Stopps from Aylesbury Friars (along with the mayor of Aylesbury, whose jacket h threatens to steal - such is its flamboyance) congratulates the band and the audience.
Marillion often play songs associated with particular places on tour and there is only one song that could end a concert in Aylesbury. h warns us that they haven’t played it for months but the crowd claps, sings and punches the air to a rousing rendition of Market Square Heroes. Whenever, Pete and h lean in together to share a moment, it always reminds me of the Hooks in You video (and the image captured on the front of the Stoke Row to Ipanema DVD). It’s often during the higher tempo songs and moments during Market Square Heroes are reminiscent of it once more.
It’s been 40 years since the release of their first single and even more since their formation but tonight proves that the appetite for Marillion’s music is undiminished and their force as a live act is intact. We may not have another 40 years of Marillion to come but we are going to enjoy every moment that remains.