It is almost three months since the three seminal gigs of the year. When that fantastic community of friends and music fans, now known as The Passengers, got together for a brilliant social event and a series of concerts like none of us had known for quite a while.
It wasn’t just about the music, it was about meeting people I had just conversed with online for the best part of three years and friends I have met recently through a shared love of the band Big Big Train’s music.
Greg Spawton, Danny Manners, David Longdon, Andy Poole, Nick D’Virgilio, Dave Gregory, Rachel Hall and Rikard Sjöblom took a huge risk when they decided to perform live at three dates at London’s Kings Place in August. Yes, they were playing to an adoring audience but it had been many a year since any of the material had been heard in a live setting. Add in the fact that they were going to play with a brass band and it was no mean feat that they were attempting.
To cut a long story short, and as better and briefer wordsmiths than I have already spoken about, it went down a storm. I came down on the Friday and stayed with some friends.
Saturday saw me meet up with Mike Morton of The Gift and assorted other friends and Passengers at the Old Parcel yard pub in Kings Cross where we spent the afternoon reminiscing and wondering what the evening’s entertainment was going to bring.
The anticipation was building to a crescendo as we walked to Kings Place, just round the corner. Many of the great and good were in the bar before the gig and it was great to meet up with Jerry Ewing and his sister Sarah, Joe Payne, Christina Booth, David and Yvette Elliott and many other friends I have made in the music industry over the last few years.
I am not going to waffle on about the concert itself, only to say that it was a real life affirming event for me. The depth of emotion and sheer brilliance on show will stay with me forever.
If I had to pick a couple of tracks to epitomise the whole evening for me, it would have to be Victorian Brickwork from the first set where the addition of the superb Brass and the way the track finished just left me an emotional wreck and, from the second set, the utterly sublime and beautiful Curator of Butterflies, I cried…. a lot……..
Showing just how much they are in touch with their fans, the band did a ‘meet and greet’ with everyone after the concert. Many ales were quaffed with great friends and a fantastic night finished with aplomb.
So, after the dust had settled, Greg luckily enough agreed to answer some questions for me about the band, the gigs and the future…..
Pic courtesy of Martin Reijman
Progradar: When did the idea of doing some live concerts first come up and was it just one band member’s idea which you extrapolated on?
Greg: We had talked about it from time-to-time over the last few years. However, our focus has been on writing and recording new music so it seemed, to me, to always be a distant prospect. As a firm idea, it started to come up in conversations in 2013.
However, our studio recordings are complex, layered things, with strings and brass in the brew alongside the normal rock instrumentation, so we were a little worried how difficult it would be to recreate our sound in a live setting.
Therefore, we decided to do a dress-rehearsal in 2014, with no audience present. This worked pretty well so we started the process of selecting a venue and a team to work with.
Progradar: Did the addition of Rachel and Rikard to the ranks make this more of a reality?
Greg: Absolutely. The fundamental decision we had to make was whether we stripped things down and played a more basic version of our songs with a smaller line-up, or whether we should try to present our music as we want it to be heard, with all the layers and the bells and whistles.
Rachel and Rikard enabled us to take the latter approach. Rachel had performed on the ‘English Electric’ albums and was already a big part of our plans. We also needed to find a musician who could cover guitar and keyboards with equal dexterity. There are not many people like that around, but Rikard ticked all the boxes. Soon after the 2014 rehearsals, we invited them both into the band.
Progradar: What made you decide on Kings Place in the end?
Greg: We like to do things our own way on our terms and we didn’t want to play something on the usual circuit. Kings Place came to our attention when Danny played a show there with Jonathan Coe. It was in the smaller Hall Two, but I was struck by the potential and thought it would be worth checking out Hall One.
Generally speaking, there were a few things we had to take into account: location was important as we wanted the venue to be an accessible place, close to public transport. The stage had to be big enough to accommodate a large band, but we had little concept of likely ticket demand so didn’t want to over-reach and book a venue with too high an audience capacity. We needed a place with good acoustics and with access to recording facilities as we wanted to record the gigs. We made contact with a few other places, including the Queen Elizabeth Hall at the Southbank Centre and we looked at some places in Winchester.
Bristol was also an option at one stage. In the end, I went up to Kings Place with Rob Aubrey and we liked it the minute we walked in. The staff were great, very welcoming and it met all of our other requirements. Not all London venues offer welcoming staff and they were brilliant all the way through. They rarely do rock gigs there and so I think they looked on us as a way of expanding their enterprise. It brought quite a buzz to the place and they thought our fans were lovely.
Progradar: When deciding on the set list, what factors did you take into account?
Greg: If we had decided to gig without the brass band, we would have looked at a very different set list. However, as we knew we would be playing with the brass band this enabled us to select some of the pieces where the brass plays a significant part. This brought East Coast Racer and Victorian Brickwork straight into the reckoning. Above all, we wanted to create a set list which showed all aspects of what we do, from the epic progressive rock through to folk and pop music.
Sometimes we get to cover lots of different things in one song, such as Summoned By Bells or Hedgerow. Other times, it was the contrast between songs which we wanted to demonstrate. We were particularly keen to offset some of our melancholy moments with some which are more joyful and communal. Once we had decided on the set list we needed to make one or two musical changes to songs for live performance.
For example, East Coast Racer needed a new ending as the closing section on the album was simply a restatement of an album theme and wasn’t right for the live version which we wanted to play at the end of the gig to bring things to a close. One of the original options I thought about when writing East Coast Racer was to have a guitar solo at the end, so we decided to revisit that idea. Danny composed a new chord sequence to allow the solo to develop.
We also changed the opening section of Make Some Noise to give it a more folky, foot-stomping feel. And Dave Desmond added more brass to The Underfall Yard.
Progradar: Did you ever consider varying the setlist for each night?
Greg: We had a couple of other songs on the rehearsal back burner and, at one stage, thought about varying the set list. The crucial thing though, was to try to play things well. We only had limited rehearsal time together so we didn’t want to cram in too much at the risk of lowering the quality.
Progradar: How involved was Rob Aubrey in the planning and sorting out sound when you’d finally agreed a venue?
Greg: Rob had huge involvement in every aspect of the sound. He liaised with Real World and Kings Place about all aspects of the sound and arranged for their monitoring engineer to visit our rehearsals which was a big help as sorting out monitoring for 13 musicians is a headache. One of the advantages we had with rehearsing at Real World was that we could record everything we did, allowing us to playback the songs and fully work out keyboard and other levels ahead of the gigs.
The more you can sort in advance, the more things are in control on the night. We had a rather random meeting with Michael Giles at the pub on the first night of rehearsals and the first thing he said to us was: ‘record everything and listen back to it’. The other big help we had was finding Zab Reichhuber who controlled and prepared the lights and the videos and slides. She is a very talented and impressive young woman.
Progradar: How did rehearsals go and, honestly, did you really feel ready by the Friday of the gig?
Greg: Rehearsals were brilliant. They were hard work and a lot of fun. By the time we arrived at the venue we felt ready enough, but there were still a couple of areas where we tripped up during the first show.
That may be nerves, or just the different environment. In the 70’s, progressive bands would get extremely tight due to constant touring. Not many of us have that opportunity these days as the more limited audiences will enable most bands to play maybe 10 or 20 shows each year or just do one-off shows, so it is a different set of circumstances.
We had a really good couple of hours on the Saturday afternoon at Kings Place where we sorted out some of the monitoring niggles and then had time to work through the bits that were unsteady on the Friday show. We were pretty tight on Saturday and Sunday.
Progradar: The massed ranks of Passengers were going extremely giddy in anticipation of these concerts, does that put added pressure on you as a band to perform?
Greg: In the weeks running up to the gigs we became increasingly focused on gig preparation so we absented ourselves from social media for much of the time ahead of the shows. At rehearsals we were in a little world of our own. Nick and Rikard, who have both played a lot of gigs, were very confident about the audience response. That settled my nerves a bit.
Progradar: How much extra does having the brass section there playing live add to the performance?
Greg: A huge amount. The brass band has become an integral part of our sound since ‘The Underfall Yard’. The sound of a brass band is not something you can easily replicate on keyboards, so without them, we couldn’t properly perform quite a few of our songs. The guys in the band are some of the best brass players in the country and they are all really great chaps to hang out with, so we are truly lucky to have them onboard. We are recording with them again for ‘Folklore’ and ‘Station Masters’ so they are part of our long-term plans.
Progradar: How did the reaction of the audience make you feel, was it what you were expecting or something on a different level?
Greg: It was at a completely different level. Personally, I had no idea what to expect from the audience. It was a seated venue so I wondered if that may make things a little subdued. That didn’t particularly worry me as it is nice to think that people are listening carefully, but I didn’t want it to be too restrained.
When we were standing stage-door before the gigs the atmosphere sounded quite lively and we became aware that the audience were likely to be quite enthusiastic. Then we walked on and had a great welcome and it went on from there. It was amazing really.
Progradar: Did you enjoy meeting the fans after the concerts and sharing a drink with them?
Greg: For all of us it was one of the highlights. It was lovely to meet so many listeners and share a few words. There was such a friendly atmosphere, it was heart-warming. I really don’t like the whole paid meet and greet thing that seems to have caught on in some parts of the music business although I understand the commercial reasoning and I know that it is popular with some fans.
Progradar: What was the buzz like on Saturday morning after the first performance the night before?
Greg: We were pretty tired early doors, but very happy. We also wanted to spend some time running through some sections again and we had a good couple of hours playing in the afternoon. After that we felt pretty relaxed and were looking forward to the show.
Progradar: Did the Sunday matinee feel any different to the two evening gigs?
Greg: Each of the gigs was different. The audiences reacted to different songs and passages of music. We all liked the matinee. Sunday evening exits from London can be a terrible thing so it didn’t feel that people had to rush off afterwards.
Progradar: At any point did you wonder what you had let yourselves in for?
Greg: It has been a major organisational challenge and a steep learning curve. In order to make the band a profitable concern we try to do as many things ourselves as we can which means cutting out middle-men like promoters. At times, in the weeks ahead of the gigs, so much energy was expended on planning itineraries and transport and food and accommodation that it seemed there was little time for music. It was also a big musical challenge but we got into our stride pretty quickly at rehearsals so worries about that began to subside.
Progradar: What do you get from performing live that is different from recording?
Greg: I am a songwriter rather than a performer and haven’t played a gig for many years so it has been an interesting experience. The obvious difference is the interaction with the audience. There is no part of the writing and recording process which is at all like that.
When things are going well on stage and the band is playing well and the audience is into things it is a pretty amazing thing to be part of. Having said that, I love writing and I am looking forward to finishing off our new album. All aspects of the music making process are very satisfying and all parts can have their moments of frustration.
Progradar: Now things have calmed down a bit, what were the highlights of the weekend for you?
Greg: It was very cool to perform with my friends and bandmates and watch them in their natural environment. The atmosphere both backstage and onstage was such a positive thing. And the audiences were amazing. They seemed very engaged. I liked that there would be applause during the songs for solos.
I saw Elbow in February and came away thinking that they have an ability to make a gig both a communal event with lots of singalong moments and, at the same time, a very personal one, with people reacting individually to songs that moved them. That was what we were reaching for with these gigs, and that seemed to happen.
Finally, after everyone had gone on Sunday and the gear was on its way back to base I got to have dinner with my lovely wife at St Pancras. It had been a very busy few months ahead of the gigs and then there were rehearsals and the shows so it was nice to finally have some time to relax and reflect.
Progradar: Were there any negatives, what would you possibly do different next time?
Greg: We’ve already started thinking about this. The main thing is monitoring. We will probably hire or buy our own monitoring desk next time and get things fully set up at rehearsals. This will save time in setting up at the venue and keep us fresher.
I still think we will aim to play two or more nights in one location rather than a conventional tour but, depending on how things go with record sales, we may well look at a bigger venue next time. It would be great to play live with Rachel’s string quartet at some stage as well, but that would make things even more complicated so we may leave that idea for a while.
Progradar: Does the thought of doing it again fill you with dread or joy and, if it’s the latter, when can we do it all over once more?
Greg: Definitely joy and definitely in 2017!!