The Half Moon has been promoting a wide range of live music since the 1960s and many famous names have played there. It was the venue for U2’s first sell out UK concert, Kate Bush’s first public show and has hosted gigs by the Rolling Stones, The Who, Elvis Costello and The Small Faces to name just a few.
Due to the pandemic, it has been four years since StillMarillion last played the venue and it is on a typical English Spring Sunday, a stone’s throw from the River Thames, that StillMarillion return for two complete shows in one day.
During one section of his entertaining inter-song banter with the crowd (and the band), vocalist Martin Jakubski reminds us that it has been fifteen years since StillMarillion played their first gig. Formed from the ashes of Forgotten Sons, the band’s journey has led them to become the foremost Marillion tribute band. Based in Glasgow, the band now travel as far as continental Europe to perform, such is their reputation. At the heart of their appeal is that they do not try to be or ape Marillion and loyal followers regularly sell out venues to hear the music they love, played to perfection.
Fifteen years is a long time for any band to be together and particularly so for a tribute band. This afternoon’s show is a little different and a little special as it will feature songs StillMarillion have never played live before. Jakubski tells the packed venue that while the band are first and foremost a Fish era tribute band, they also enjoy playing some of the earlier h era material. It is an interesting dilemma as there are fans that simply want to hear tracks from the first four albums but strong as these albums are, having only four albums (and related B’ sides) to choose from clearly limits the options for StillMarillion putting on a diverse show.
Deciding to split the set into two sections, the band (and the audience) are in extremely familiar territory with opener Assassing. From the outset, Martin encourages the crowd to be a full part of the performance and the early afternoon gathering reponds with immediate and urgent energy. Assassing is closely followed by Punch and Judy, which Jakubksi ensures loses none of the cutting and bitter intensity evident within the lyrics, being a subject that still resonates with so many almost forty years after its release. Both songs allow the different members of the band to shine: the tribal drum beats of Assassing, the inventive interplay between guitar and keyboard within both tracks, and Barrie’s compelling bass technique during Punch and Judy.
That lyrical ferocity continues with a searing version of He Knows You Know. Fish certainly did not write his lyrics of the time in a way that always made them easy to sing, particularly as the band play this somewhat faster than the original studio version but they are delivered with poise and assurance; the crowd’s contributions growing ever louder as the band settle into the gig.
A moment of hilarity takes over the venue as the time approaches 3pm and the expected national emergency alert approaches. There isn’t enough time to play another song (especially considering what the band have lined up for us next) and while Martin fills time chatting with the crowd, guitarist Mark Mitchell teases us as he launches into the opening chords of 2 Minutes to Midnight (an appropriate choice!) by Iron Maiden (much to the delight of all). We do not get the whole song and as the alert sounds on mobiles throughout the room, a prepared sample of Two Tribes by Frankie Goes to Hollywood rounds off the amusement.
Playing entire albums on tour is something Marillion themselves have done several times and playing Misplaced Childhood, which segues from one song to another throughout is a challenge StillMarillion have taken on many times. It is an album Marilllion fans have probably heard hundreds of times but seeing it performed its entirety focuses the mind on what a brilliantly constructed album it is. As the band’s biggest selling album, there would have been many listeners who bought the album purely due to the success of Kayleigh and it is always interesting to ponder what their thoughts were when listening to some of the darker moments of the album. StillMarillion are utterly convincing with their portrayal of the album, the drum based transition from Lavender to Bitter Suite sees “Big” Mark’s drums thunderously roar through the audience.
Marillion’s music is often thought of as depressing (all those songs about death and water!) but within the murky and shadowy recesses of Misplaced Childhood there are more triumphant moments than on almost any other of their albums. The joyful sing-a-long of Heart of Lothian is always a highlight of any concert and the fully committed crowd sing lustily throughout. Childhood’s End? with its celebratory realisations on life and the exultant conclusion (an ending which Fish states almost killed him to write) of White Feather bring the album to a close with deeply appreciative applause and cheering filling the air.
After an hour of Fish era material, the band change tack and the rest of the show is devoted to the first four albums made with Steve Hogarth. The Uninvited Guest is first up (an interesting song in the Marillion discography with its dark and macabre lyrics) and is enthusiastically received, Mark handling the ending solo with zeal and authority. While the music of Marillion, continued to develop naturally during the tenure of Steve Hogarth, lyrically the two singers are at opposite ends of the spectrum, their two takes on Ireland could not be more different but both are equally powerful. Easter is one of Marillion’s most played and an impressive and heartfelt performance displays a band at home with their song choices.
Following two songs from Seasons End, the band now venture into previously unexplored territory with a quartet of songs they have never tackled before: two from Holidays In Eden, one from Brave and Afraid of Sunlight. Waiting to Happen, Runaway and Afraid of Sunlight demonstrate that choosing to play h era material is the right decision. Runaway, in particular, is resplendent, keyboardist Stuart Clyde wringing every ounce of pathos from the track and Mark delivery a captivating version of the solo. It is a dream fulfilled for Martin, who has wanted to play the track live for some time having never even performed it within his role as vocalist for the Steve Rothery Band.
At the end of 1990, Marillion played a series of gigs at the Moles Club in Bath. During these shows, they shared new material which would become the tracks on Holidays in Eden released the next year. Splintering Heart (one of the most popular songs of the entire h era) was a slightly different beast at this time and this is the version StillMarillion opt to play. Within the context of the energy built throughout the concert, it is a perceptive and savvy decision. StillMarillion end with The Space (complete with Martin playing a mini-keyboard for the orchestral middle section) and as the track builds to its incredible crescendo, there can be no doubt that they do justice to any Marillion song they choose to tackle - Jakubski's vocal dexterity during the closing section is a joy to behold.
While some fans may debate StillMarillion’s choice to play songs from the entire EMI era of Marillion, to the band it is a matter of desire but also need. Speaking with Martin, he told me, “Realistically to have longevity we have to be able to put on different kinds of gigs, which means playing different types of sets and material. We love doing that (h era) material as it is a different type of challenge.”
StillMarillion are a special tribute band, an incredibly humble, friendly and unassuming bunch of blokes playing music they love. We are lucky to have them. Here's to the next 15 years….
Written: April 2023