There is a tangible atmosphere of anticipation in the air of the Islington Assembly Hall tonight. This impressive 1920s venue is the perfect setting for Steve Rothery and the lush, cinematic pieces that make up his debut solo album, The Ghosts of Pripyat. It seems amazing that such an extraordinary venue, with its art deco interior, elevated stage and superb sound could have lain idle for close to 30 years until council funding allowed it to re-open (with many of its original features intact) in the earliest days of this decade.
With a short six song set based around the 2016 album Dreamless, the Dave Foster Band give the eager and excited crowd much to enjoy. Dinet Poortman prowls the stage throughout, the band responding with ever-increasing urgency. Foster himself, appreciating the reaction of the audience, works his guitar with aplomb, a man completely at home with his not insignificant abilities.
After a short interval, the band return and the opening notes of Morpheus radiate amiably over the audience. A perfect opening track for both album and live set, the slow burn of Morpheus immediately captivates an expectant crowd. Rothery has never been the flashiest of guitarists; he has never needed to be. The magic he weaves comes from a use of tone, colour and emotion. However, when Morpheus opens up five minutes in, the Marillion man shows that he can let rip with the best of them when he so desires. Kendris, different in timbre, character and atmosphere to the opening salvo of Morpheus, shows just how tight the band are half a dozen shows into this tour. Already smiling at each other, they are clearly revelling in the performance as much as we are.
From the rapturous applause offered at the track’s conclusion, it is apparent, that to many, The Old Man of the Sea is the highlight of the first set. At close to 12 minutes long, it could be considered the centrepiece of The Ghosts of Pripyat and it assumes that role here. The opening sounds of the ocean, combined with the eerie, ethereal call of a whale set a mournful, melancholic scene. Like many of the tracks we hear tonight, The Old Man of the Sea builds over time allowing each member of the band to express himself fully. During the track’s climax, the rhythm duo of bassist Yatim Halimi and drummer Leon Parr act as the perfect foil for one other, powerful yet subtle. And therein lays the secret of the band Steve Rothery has put together. Each member plays for the greater good of the piece and never for themselves. Nowhere is this more evident than the emotive, impassioned and heartfelt playing of Riccardo Romano. He feels every single note, giving everything to the moment.
The Ghosts of Pripyat is an album bursting with light, shade, depth and feeling. The stories within these evocative instrumental pieces come to life on an even greater scale in a live setting. On stage lighting is simple but effective, as evidenced by the glitter ball used during the magnificent White Pass, helping to transport us to the icy wastes of Alaska. The final track of the first set, Summer’s End, builds from quiet pastoral passages but soon becomes one of the most rocking tracks we hear tonight. Dave Foster and Rothery trade solos, demonstrating the different but complimenting styles of the two.
After a brief break, the time comes for Martin Jakubski to join the band on stage. Such is the reputation of the StillMarillion vocalist and the obvious affection Steve Rothery has for the man himself, he is introduced simply as “Martin.”
Featuring songs rarely or never played by modern day Marillion, the second set is manna for fans of the earliest albums of the band, beginning with a terrific rendition of one of Marillion’s best B’ Sides, Cinderella Search. This leads directly into a stunning version of Chelsea Monday, the song that began the trend for Marillion writing about death and water. The solo is achingly beautiful, tinged with the sadness that echoes throughout the track.
It is clear that Rothery still retains an inherent affinity for these songs, the observations he makes between the tracks underlining their importance. During the introduction of Incubus, he tells us how the song was a significant milestone in defining his playing style and many fans would agree this song contains much that was to become his trademark, including one of his finest and most loved guitar solos.
Martin Jakubski, so used to singing these tracks, handles the often wordy lyrics with ease, his own natural voice coming through more than when performing with StillMarillion. He encourages the audience to become part of the show and they respond with a healthy amount of enthusiastic clapping, uninhibited singing and energetic bouncing throughout the concert. However, there is clearly a matter of respect at play here and while Jakubski is certainly not holding back, he allows the guitarist to take centre stage.
The gig continues with the title track from Fugazi itself, a knowing nod to the crowd from Jakubski as he delivers the line “… the thief of Baghdad lies in Islington now …” The band members around him clearly get a kick out of playing these classic tracks; an assured but never arrogant self-confidence oozing from the stage, as they make the songs their own. Romano, in particular, seems to improve with every passing song and the zeal he has for the music shines through. The setlist is clearly designed to air early favourites but also to showcase the different styles of not only Marillion but Rothery himself. Within the realms of the Marillion world, Sugar Mice couldn’t be more different to Fugazi and we are treated to another glorious solo within one of the finest songs from Clutching At Straws.
Next, we are spoiled with something Steve tells us “we haven’t heard for a very long time”. In amongst the calls for Grendel, we are treated to something almost as surprising. Three Boats Down From The Candy, itself culled from the same EP as Grendel, is given a first outing in well over thirty years. The selection only proves to demonstrate the freedom Rothery is experiencing. As much as he is loved for his current output with Marillion, this outlet, allowing him to have complete control over the setlist, for fans of the first four albums, is a treat indeed.
Marillion have never been a band to shirk away from political statements and while White Russian is a more than welcome addition to the set for the assembled masses, it’s somewhat concerning that thirty years after they were written, the lyrics should be so hauntingly resonant in today’s society. After “racing the clouds home”, the band leave the stage to a rapturous ovation; the wide grin’s on everyone’s faces showing just how magical this evening has been.
All too soon, it’s time for the encores but the double-barrelled blast of Garden Party and Market Square Heroes, bringing to mind the second side of Real to Reel, are more than enough to satisfy the ecstatic throng. By the time Heroes reaches its peak, almost every pair of hands in the auditorium is in the air, led by Jakubski determined to enjoy each and every second.
Like his own idols, Latimer, Gilmour and Hackett, Steve Rothery has become an icon amongst guitarists and fans alike. And as the crowd disperses after a remarkable concert in a magnificent venue, one thing is clear. Whatever your beliefs, when God speaks …… we listen.