‘Maybe They’ll Come Back For Us’, the new album from The Dave Foster Band, lands at the end of May. Once again, Dave is joined by the talented Dutch vocalist Dinet Poortman, along with contributions from the likes of Steve Rothery (Marillion), Mark King (Level 42) and Carly Bryant (Big Big Train), among others. On This beautifully constructed album we have songs of great imagination yet also with genuine emotion and warmth.
This superb record opens with Sleep Spindles, which has a guitar sound that, to my ears, is very reminiscent of Brothers In Arms by Dire Straits. It is a stunning sound that Dave evokes and certainly fits the track very well indeed. It most definitely captures the attention with its atmospheric soundscape and palette, Dave’s guitar really soaring here with his fabulous tone and vibrancy. This is a stunning opener, along with it being a real statement of intent, I find myself really drawn to this mesmerising track with it shimmer of sound. It certainly evokes patterns of sleep and has a hugely impressive vocal from Dinet too. The epic guitar solo that concludes this great track is evidence of the great things that are to come. The uber-cool Talent To Failure features the unmistakable bass presence of Mark King who drives the track along in a powerfully upbeat manner, adding his trademark bass slap at certain points to give a real groove to the song. While Mark’s presence is felt here in this busy track, Dave delivers another graceful solo as well and Dinet’s vocals are 100% on point. Overall this collaborative effort really pays off well and sounds great, one can only hope they do more together as the results could be really spectacular, only time will tell, I suppose. Pollyana has a very orchestral sweep to the sound, laid over a beautiful acoustic guitar, which is interspersed with electric guitar fills. This track sounds glorious with a warmth that is always evident, even when Dave’s solo comes in against the great background that really sounds glorious, another most satisfying song.
These Tendencies has Steve Rothery contributing, which makes it very interesting as both Steve and Dave perform regularly in the Steve Rothery Band. It’s good to hear them together here, Steve giving a beautifully melodic solo towards the end of this track. It is a short piece but where every note matters and it is wonderful to hear such excellence as is delivered on this stunning song. The Optimist has a touch of electronica amidst some strong power chords, very like The Who in places, and hugely effective. The song is very positive in tone as it calls for us live in hope, despite the world being as it is, and to realise that some days are better than others. Another blistering solo from Dave fires the song upwards, it’s a terrifically upbeat track. Queen Of Maybe is mostly piano driven with a stylish vocal from Dinet, who, once again, sounds wonderful here. Another good lyric impresses with it’s warmth and sensitivity, as Dave’s solo rises effortlessly from the melody lines, Dinet weaves a web with her expressive vocal. I love the positivity of this song, especially as it really connects with me.
With the penultimate track, Delicate Things, Dave gets to show his appreciation for Muse as he adds crashing power chords to great effect. The song talks about how we often neglect the small things in life and forget that everything worthwhile is usually free, which is a truth we probably all need to hear and employ in our own lives! The album closes with Whirling Of Whales, which is a briskly paced number with a thoughtful lyric that really appeals here. It’s cry of, “If we work it out, if we even this out” resonates vividly, it’s a great lyric and a strong chorus. A wonderfully vivid extended guitar solo break drives the song towards it’s close before a return to the chorus and another brief, but brilliant, guitar freak out fires the song to a climactic ending.
I didn’t think Dave Foster could top 2023’s excellent release ‘Glimmer’ but I have to concede that this album has grown on me significantly over the past few days and it’s star has risen accordingly. The truly great artwork by Japan based Tsuki Kitsune also really enhances the album and I really like the positive lyrics that really connect with the mess of a world that we live in today, they help these amazing songs shine out like nuggets of gold in a dark world.
I caught up with Big Big Train’s de facto leader Greg Spawton for a highly enjoyable chat ahead of the release of the band’s highly anticipated new album and a tour which, for the first time, takes in multiple venues across the US, as well as Europe and, of course, the UK.
Progradar: Do you think that ‘The Likes of Us’, while generally moving away from the historical stories of past BBT albums, still has a strong link with the band’s past?
Greg:Yes, I think it does, we were pretty keen not to try and reinvent the wheel with this album. The most important thing to us was to absolutely make sure it was us at the top of our game. One of the issues we had during the covid era when all of the touring gets cancelled was, what do you do now? make an album! and I think that one of the problems for us was that we were almost pushed into the album thing without having a masterplan for the two albums that we made in that time and I’m very much a person who likes a masterplan for albums.
I don’t like albums that are just an accumulation of songs, it needs to be an entity in its own right. There were two things, firstly with the terrible tragedy that we’ve been through, and the new singer in Alberto (Bravin), we knew it had to be us at the top of our game, secondly we needed to make sure we thought about it, planned it and made an holistic album that works as an entity rather than just a collection of tunes.
Progradar: It’s a proper ‘old school’ album where you would listen to it from start to finish. It’s not a Spotify album where you just pick and choose the odd tracks to listen to.
Greg:That’s exactly right! I listen to Spotify etc. myself but I like to be drawn in to a recording. The great albums, ‘Dark Side Of The Moon’, ‘Selling England By The Pound’, albums like that, you put them on, maybe you only intend to listen to a couple of songs, you almost can’t help yourself and they pull you in because they’re so well paced and constructed thematically. You just can’t help yourself and that is what we were trying to do with this onefor sure.
Progradar: While the last few albums have all been veery good, to me, ‘The Likes Of Us’ has taken the band back to the heights of ‘The Underfall Yard’ and the ‘English Electric’ duo of releases, do you feel that you are firing on all cylinders and pushing that creativity again?
Greg:To be honest, I think we’re in a battle for survival, David (Longdon) was my musical brother, he was a hugely well loved character and an incredible singer and songwriter. You can’t lose a character like that without potentially losing the heart and soul of the band so, therefore, for us to try to do what we’re trying to do, to carry on and keep the heart of the band going, it is a battle for survival.I think that we can thrive and survive, I am very proud of this album, we sought to look at albums like the ones you mentioned (‘The Underfall Yard’ etc.), learn from what we did then and try and make sure that’s where we are.
One of the things that’s been really beneficial for me is Alberto’s attitude to this. This is a big deal for him as well, he was singing in Italy’s biggest progressive rock band, Premiata Forneria Marconi (PFM), he wasn’t one of the older guys in the band, he wasn’t leading the band like he is in Big Big Train. It’s a big step for him and the way he’s put his heart and soul into it, the way he’s following in David’s footsteps without trying to be another David, on all those things, his judgment’s been very sound all the way through.
He’s had a huge impact on this album with songwriting and he’s mixed it with Rob Aubrey as well, that’s taken a big burden off my shoulders, I’ve been carrying this load for a long time. Without David I was kind of frightened that it would be just me, NDV (Nick D’Virgilio) and Rikard (Sjöblom) carrying the burden but we’ve got Alby, we’ve got Clare and Oskar, we’ve got the people that we need to keep things moving forward.
Progradar: Do you feel that the release of the album and the forthcoming tour is bringing the cathartic process to a close after David’s death?
Greg:It will never completely go away and neither should it, I still think of David every single day and I’m sure I always will. Grief is an interesting thing, time doesn’t heal but time certainly helps the scars close over a little bit. I think the thing with me, NDV and Rikard, the three that have been in the band the longest, we were thinking what else can we do, almost, we had that conversation about whether or not it’s right to continue or whether or not WE want to continue.
We’ve all put our hearts and souls into this, as David did, so we felt that we owed it to ourselves, and also to the memory of David, to try to carry on but what we didn’t want to was just to carry on and try to be David again. It had to be on our terms with a new singer who brought his own thing, his own talents in to it, so that’s how we’ve tried to move forward. Yes, it has been a cathartic experience but it will never completely go away, it just never will.
Big Big Train | Trieste, May 2023 | ph Massimo Goina
Progradar: The current line up seems extremely strong, does it have the longevity of the classic line-up and does it feel strange to be the last original member of the band?
Greg:It does feel strange in that respect, I’m the ‘old guy’ in the band from every aspect, I’m the oldest band member and I’m also the last person from the original line up, there’s also NDV from the re-booted line-up of 2009 of course. I don’t know how it makes me feel to be honest, I’m still carrying the torch for the band. The main thing is, does the music have integrity, does it still carry the hearts and souls and passions? it sounds like a pat answer but it has to have integrity.
I think you can sniff it, sniff if a band is either coasting or doesn’t have integrity in what they’re doing and I think that, on this album, the attention to detail, you can hear how carefully we crafted the material. People might come along and say that their affection for the band’s previous personnel is such that they can’t really go with the new line up, that’s fine, that’s up to them but I hope that they will at least listen and, if they do go, okay, that may not be for me but the band’s got integrity and it’s kept its soul.
Progradar: I think what you were saying there about integrity harks back to the Spotify generation. I use Spotify, 99% of the time for my running playlists but, if someone mentions to me or points out a record, things aren’t cheap anymore and I like buying vinyl. Therefore I’m not going to lay out £30 or £40 on something I haven’t heard, I will check it out on Spotify first and if I like it, then I’ll go buy it! There are certain artists who I have a history with, Big Big Train for instance, and I will buy most things they release without having heard the music.
Greg:I’m no different, there are a handful of bands whose music I will just buy, for a sense of loyalty, a sense of supporting them, Elbow is a good example. I will always buy their records, I haven’t connected as much with the last couple of records they’ve release as I have with some of their earlier stuff but I’ll still support them because they mean something to me as part of my being really.
I’m like you, I use Spotify as a sampling device, it’s a great way of just checking something out. There’s a wall of music out there now, especially for someone like you and the work you do in progressive rock, you must be inundated with stuff. You can’t not use Spotify to check things out otherwise you just end up going bankrupt frankly!
Progradar: Has signing with InsideOut put any requirements on you as a band where, before, the whole creative process and release was controlled by yourselves?
Greg:We signed with them cautiously, it was a big deal for me to actually to become a ‘grown up’ band and sign but they’ve been brilliant. I was so used to us being completely in control of our destiny and that was the fear, that we would lose some degree of control, they’ve been fantastic though. The thing is, Freddy (Palmer) and Thomas Waber, they knew who they were signing so they know what Big Big Train is all about, it’s that 70’s progressive rock vibe, historical songs, that sort of thing. They fully understand it and they understand our back story, that we’ve been used to doing things ourselves.
They’ve been incredibly respectful, will tell us what they think is right and, at the end of the day, they will make the decisions but they listen to us. I feel totally in partnership with them and they want us to do well, it helps them, as well as us, if we do well. InsideOut is part of Sony Music and Sony Japan have got completely behind the album and have had it all translated into Japanese, really pushing us there and maybe, someday, we’ll get out to Japan. We’re delighted with the relationship, people slag record labels off, sometimes for good reason but I couldn’t speak more highly of InsideOut.
Progradar: You said that Alberto has been brought into BBT not just as a vocalist but, also, for his musical skills and songwriting ability. Has this given an extra dimension when you create new music now or has he seamlessly filled the gap left by David?
Greg:I’ve got to the stage in my life where I’ve been through a couple of terrible tragedies recently, David passed away and my stepfather has had a nine month illness which killed him, you read about how dreadful long term illnesses can be and end of life care at the extreme end of that. I’ve been through a couple of very traumatic things in terms of the people around me that I love so I try to find things in life that are positive because I’ve been though so much that has been negative.
One of the positives is the relationship that I have developed with Alberto, he’s become a very dear friend, we’ve been writing songs together, we talk all the time. When we’re on the tour bus he and I get up early in the morning and we go for a walk together and we go and investigate things. We were at a museum, in Copenhagen I think it was, and we were bouncing ideas off each other about what we were seeing there. He’s very much become a musical soulmate and that’s not to diminish in any way, shape or form the relationship I had with David.
I just feel blessed, absolutely blessed, that I’ve got another person in my life, It’s a different relationship but it’s also a very important one. The relationships I’ve got with Rikard and NDV and all the others have all been important to me and I do need those people around me, I’m not a Steven Wilson, I need to bounce things off other people and discuss things with those around me to make the most of what I can do.
Progradar: It is the band’s first tour of the US, was that a difficult thing to organise logistically and how much are you looking forward to playing in the US?
Greg:Logistically everything is difficult to organise with Big Big Train! Along with all the other complexities of having an American drummer, a Swedish guitar player and all the rest, I then go and choose an Italian singer! Our manager was going, oh my god, no, please! It makes everything really hard and more expensive but you’ve got to go with the people you think are the right people to work with and every decision that’s been made with regard to the personnel in the band has been a good call and we’re multi-national and it’s expensive.
The States is a nightmare, it’s a nightmare because the United States government don’t make it easy for bands to get out there and most bands at our level can’t afford to do it, we can only just about afford to do it. As it did during the Covid era, it’s cost us something like ten thousand pounds in visas and also there’s the bureaucratic rigmarole to go up to the embassies and stuff like that. It’s not to be undertaken lightly, we’re going to lose money on that tour, ticket sales are kind of okay, they’re not amazing.
The States is a huge place, us Europeans, we all know it’s a continent but we still struggle to get our heads around quite how much of a continent it is! You’re not dealing with the UK, you’re dealing, effectively, with something the size of Europe and with all the challenges that gives you. It’s a big thing for us but all I can do is look back on the 70’s bands like Genesis, one of the stories I remember is that they played New York and they went down great, they thought they’d conquered America, of course, they hadn’t even started, they’d just dipped their toe in the water in one city in a huge country.
We’re going to try and go through that process if we can, the visas last for a year so, if we can, we’re going to try and get there twice in the year and see how it goes. We need to build the audience across the world, I have to be honest with you, my hunch is that the Cruise (To The Edge) is going to be just as important to playing the States in itself because I think most of the fans on the cruise are American so, hopefully, they enjoy us and go back and spread the word a bit.
Progradar: The band has always had a strong and supportive following in the UK, does playing live in the UK almost feel comfortable now? if that’s the right word?
Greg:The UK is definitely our biggest fanbase so it’s easy to connect with, it’s still very patchy though. We put the tour out there yesterday and it certainly looks like within a week or two the Manchester show will be sold out and Milton Keynes will be sold out but some of the others haven’t sold many tickets at all yet. Obviously, we’ve got a plan over the next six months to sell a lot more tickets, so we hope to get a number of shows sold out, we’ve got to reach regions in the UK that we haven’t been to before, we’re trying to do that. On the continent, we’ve only played one show in Italy, which is bonkers! We need to get there as well.
The truth is, the future of the band has to be an international thing, we need to be able to play across the world, we have to have listeners across the world because the progressive rock audience is dedicated, it’s hardcore but it’s thinly spread, unquestionably it is thinly spread. If we were a prog-metal band, I think we’d be able to access a bigger audience more easily but with the sort of music that we play, sort of 70’s style prog, it’s definitely harder. The UK is a great place to build from but we’ve got to spread the word across the world.
Progradar: Where is your favourite venue to play live?
Greg:My favourite so far has been Loreley because of the scale and the ‘prog’, when you’re on the stage, if a dragon flew past it wouldn’t surprise you! I also love the Boerderij, the Boerderij is brilliant, we’re doing a weekend residency there, so those two venues. The Boerderij is great because it is a brilliant, purpose built venue, the staff there are fantastic supporters of prog rock and the fans come out.
Progradar: Have you already started the creative process for the next album or are concentrating on this one (‘The Likes Of Us’) first?
Greg:No, we have, there’s lots of conversations about when we’re going to record it and where, as you know, this one was recorded in a room together, we’re going to do the same thing with the next album. There’s talk of it being a concept, or part of it will be a concept album, the management are a little wary about that, they’re like, please don’t do that!
We may smuggle in a bit of a concept, maybe half a concept album and then finish it off, I don’t know, we’re still talking about it. There’s lots of writing going on and I’m delighted that Rikard has written a nice long, chunky piece of music, we’re all looking forward to getting our teeth into it and it’s going to be a good thing.
Progradar: What do you see as the future of the band with all the talk about streaming and people not buying physical product as much anymore? I see BBT as a ‘physical’ band and have all the vinyl, you could say that this grates with the Spotify culture?
Greg:There’s definitely a clash of cultures there, the interesting thing is that the record companies own a significant proportion of the streaming sites so they know that’s the future, realistically. I just hope it can be a future that can incorporate the value of physical product, alongside the value of the ease of streaming.
I think the future for us in the next two or three years is we’re going to gig hard but I hope ‘The Likes Of Us’ is a successful album in terms of sales. We’ve had a couple of Top 40 albums in the UK and I think if we can sneak back into the Top 40 then I think it will feel like we’ve got momentum again. There’s a line in the album, ‘make the most of the light left in the day’ which is what we’re trying to do.
Progradar: I think it deserves to be a success, I think it’s up there with ‘The Underfall Yard’ and the ‘English Electric’ albums, I really do!
Greg:Thank you, it’s important, your word carries weight for people that aren’t sure. I’ve read a couple of responses to your review where people are saying, ‘that’s interesting, you obviously really believe in this album’. The reviews are important.
Progradar: Do you have a favourite track on the album or is that like asking you who is your favourite child?
Greg:It’s hard for me to answer that, on different days, different tracks hit me differently. Sometimes I get a big lift from a certain track, sometimes I get a bit of a wobbly lip from other tracks. I’m wimping out but I genuinely can’t say which of the eights track is my favourite.
Progradar; I find it very similar for myself, there’s times when it’s Beneath The Masts, because I love a prog epic but when I was listening to it as I was writing the review, the one that really stood out for me was, well there’s two, I love Love Is The Light, it’s up there with Curator Of Butterflies, in my opinion and then the other one that really hit me was Light Left In The Day. It’s a brilliant opening track, it’s just everything that I feel is brilliant about Big Big Train in one song.
Greg:Yes, it (Light Left In The Day) came together really well, it’s mostly written by Alby. It’s clever, he’s brought together most of the album motifs, which is a really difficult job to do and I added a little bit at the top of it, the ‘tailenders’ thing.
I think what I like about that is that is does set out our stall, you get a bit of 12 string and a vocal, so you hear Alby right at the top and then you get the brass band coming in and it’s like, whoa! there’s a little bit of warmth comes in.
I think the Big Big Train fans of old will be thinking, okay, I’m on steady ground here, and then you get this four minutes of kind of showy musicianship which a prog band does, like an overture thing. I agree, it’s a good starter, it kicks the album off well.
Progradar: Just one last question, recommend me an album that you like, that you are listening to at the moment?
Greg: Okay, I can do, a recent one, an album by The Twenty Committee.
Progradar: I think I wrote the first review of that!
Greg:Fantastic! I really, really like them, Geoffrey Langley is their main guy in the band. In fact, I said to him it reminds me a bit of the band UK and I don’t think he was particularly aware of UK. It’s got some fusion chops in it, he’s a really talented guy, that’s the album I’d recommend. I could say that Radiohead offshoot band but, no, this is a younger band as well, this is a fantastic album, I’m glad you asked that and I’m glad I get to mention them because I think they need to start making waves.
Progradar: So that concludes the questions, hopefully we’ll be able to catch up on the tour, I’m attending the Whitley Bay gig, thanks for your time, I really appreciate it.
Greg:Fantastic, we’ll definitely catch up thereand, no problem, it’s been great to chat again.
‘The Likes Of Us’ is released on 1st March, 2024 and can be ordered here:
“Transitions are a part of life, allowing for perpetual renewal. When you experience the end of one chapter, allow yourself to feel the emotions of loss and rebirth. A bud gives way to a new flower, which surrenders to the fruit, which gives rise to a seed, which yields a new sprout. Even as you ride the roller coaster, embrace the centred internal reference of the ever-present witness.” ~ David Simon
I’ve been a fan of Big Big Train since David Longdon first sang on their seminal album ‘The Underfall Yard’ in 2009 and they began that run of English pastoral progressive rock classics that continued with the two ‘English Electric’ volumes (released 2012 and 2013 respectively) and ‘Folklore’, released in 2016. In fact, I’ll never forget going to the launch of ‘Folklore’ at the Real WorldStudios in Box, Wiltshire, an amazing weekend of music and friendship that cemented my affection for this wonderful band.
The unexpected loss of David in late 2021 put a cloud over the band and their future but one that has gradually lifted with the announcement of Alberto Bravin as the new lead vocalist and the rebirth of the band has come full circle with the release of ‘The Likes Of Us’, Big Big Train’s fifteenth studio album. This new album is the internationally-based group’s first full collection of songs since David Longdon passed away. Besides marking the debut of new frontman Alberto, a former member of the Italian band Premiata Forneria Marconi (PFM for short), it also heralds the beginning of a new relationship with the Sony Music imprint InsideOut, the group having self-released their music via a label called English Electric for almost two decades.
Since his appointment in the springtime of 2022, Bravin has become more than just a lead singer for Big Big Train. His name appears in the writing credits against five of the eight numbers featured on ‘The Likes Of Us’, and in a massive departure for the group Alberto also stepped up to co-mix the album along with the band’s longstanding engineer Rob Aubrey. Drummer Nick D’Virgillio and co-founding bassist Gregory Spawton had seen Bravin performing with PFM several years ago. Aware that the affable Italian seemed potentially to have the voice to make things work within the context of BBT, Spawton noted his name for his own possible future solo project. However, amid the process of his appointment, little or no discussion took place over what else Alberto might bring to the table beyond the fact that he also played keyboards and guitar.
“I reached out to Alberto purely as a vocalist, not as a songwriter or a friend, but he has become all of those things,” Spawton comments. “I always need somebody to bounce ideas off, and for the second time in my life, after David, I have another musical companion. Finding Alberto, who pays respect to the band’s traditions but also brings his own ideas and amazing energy, has been a miracle. I’m incredibly blessed.”
“I had no idea whether or not the guys would be interested in the other things that I felt I was capable of doing,” Bravin adds. “But luckily they did, and everything has progressed so naturally. Like Greg, I too have sought a musical partner all my life. I’m proud of the two albums I did with my previous band [PFM] and write a lot, but I’ve never had the opportunity to do something like this. Together with this extraordinary group of people I think we have made a beautiful album.”
“Initially, I wasn’t sure whether carrying on [after Longdon’s passing] was the right thing to do, though David and I knew each other so well that we did actually have a conversation during which he told me that should anything happen to him, the band had to continue,” Spawton relates sadly. “BBT was a big part of David’s musical life and it was his wish that the songs he wrote should continue to be heard. We will never forget David; it goes without saying that he is a big part of our story.
“But,” he continues, “had Alby been even only a little bit different [from Longdon] then I’m not sure that it would have been possible. It just might not have worked.”
“Step up to the mark, Make the most, Of the light, Left in the day.”
It’s a magical moment for me as the delicate vocal begins to open Light Left In The Day, a mainly instrumental album opener that sees the every so classy brass section join in as the music gently washes over you. The calm of the opening then gives way to symphonic crescendo of guitar, keys, drums and bass along with brass flourishes as we are treated to an utterly uplifting piece of music that is definitively Big Big Train at their absolute magnificent best. Honestly, tears of emotion threatened to overwhelm me at what I was listening to, the repeated keyboard motif, what an utterly marvellous way to open the album.
“Life was never easy, Walking uphill, Turning his cheek, It became his best skill,Was it something he said, Or could have done? Fade into oblivion.”
Oblivion is a powerful statement of musical intent, the bombastic opening with a crushing guitar riff, thunderous drums and Greg’s stylish bass knocks you off your feet and then Alberto’s vocal begins, this man can really sing, he has a distinctive vocal style of his own but, somewhere in the back of your mind, you feel a little bit of David Longdon’s emphasis in his delivery, a smile and a nod to carrying the torch onward. Then it’s gone, just a fleeting moment, the harmonised chorus is a delight and the fantastic musicianship is all that is good about this band, Dave Foster’s guitar work is intricate and yet dynamic at the same time, this is a song that shows a group of highly talented musicians in perfect harmony and they deliver a track that is potent and moving at the same time.
“On the streets far below, Car lights dance as workers journey home, One last time we sat alone, Words unsaid remain unspoken.”
Victorian Brickwork, The Underfall Yard, East Coast Racer, Curator Of Butterflies, Brooklands, these are all song titles that every BBT fan will instantly recognise, classic epics which the band have become synonymous with and which always bring the house down when played live. You can now add Beneath The Masts to that list, a song cast in BBT’s time-honoured storytelling style. Greg was born in Sutton Coldfield, in the midlands of the UK, and close to where he grew up there exist two huge radio masts.
“For the best part of my youth they were there, lights blinking on and off, to the backdrop of my early formative years,” he explains. In later years the bassist moved to the south coast of England, and it wasn’t until returning to the area of his childhood that the subject of the two masts returned to his consciousness.
“That visit, to see my beloved stepfather who was suffering from a terminal illness, triggered the song,” Spawton explains. “The hospice in which he was being treated was between those masts. Being tethered to the ground, I realised they are symbolic of my Midlands roots,” he continues. “It’s a sad song but it has a surprisingly upbeat ending that reminds us we are always part of a bigger whole.”
It’s a wonderful seventeen minutes plus of wistful, sepia-tinged nostalgic storytelling that instantly draws you into Greg’s world, the tender music and Alberto’s softly emotive vocal just add drama to the song. Clare Lindley really gets to shine on this track, her violin playing is utterly sublime but then again, every single one of these musicians is adding their own skill to the complete whole. As in the best BBT epics, the song builds slowly, adding layers of musicality all the time. This isn’t just music, it is art, there is huge skill involved in creating something as good as this, adding wonder for the listener, taking you on a fantastic musical journey with every twist and turn. I hope Alberto Bravin doesn’t mind me saying this but, while not sounding directly like David Longdon, his vocal performance here really does bring back to mind that incredible vocalist and also conflicting emotions but it is happiness that wins over the sadness and I’m sure David would be really proud of Alberto. Again, Dave Foster delivers some incendiary guitar playing and the brass section send shivers down your spine once more. Greg’s stylish bass playing, Nick’s dynamic drumming, Oskar Holldorf and Rikard Söjblom both adding keys and more emotive guitar, it’s all there and, as this quite wonderful piece of music comes to a close, I don’t mind admitting that there is a tear in my eye, bravo to you all!
Big Big Train | Trieste, May 2023 | ph Massimo Goina
“It’s time to get your skates on, We’re only here for so long, Time to get your skates on, We’re here and then gone.”
Harking back to the band’s pastoral progressive roots, Skates On seems to be telling us to make the most of our lives, it’s a more acoustic number that skips along quite lightly and with a nod to the classic middle England days of the 20’s and 30’s. Uplifting vocals and music that has a definite deftness and lighter touch combine to deliver something quite contemplative and reflective, “Make those memories, Live your dreams, We’re just a flare on a lens, The house will still be dusty, When the kids have flown, When you are gone…”
“Far away from all they have known, They will dream of home, There at the edge of a distant land, New walls rise on old stone.”
Alberto had a storytelling idea of his own, rooted in his own childhood. All he sought was help in bringing it to life. When the singer raised the subject of Miramare, a 19th century castle in Spain that had been built by the order of the Austrian Archduke Ferdinand Maximilian and his wife Carlotta of Belgium, a lightbulb went off in Greg’s head. He bought three giant books on the subject of the castle’s former residents to transform Alberto’s musical sketch into a full-blown musical novel. More than ten minutes in duration, Miramare marked the first significant collaboration between the pair, setting the bar at an astonishing level for the album that followed.
“It’s like a Shakespearean tragedy, with madness involved, and he [Maximilian] ends up before a firing squad,” Spawton states. “Alberto handed me the story on a plate.”
Telling stories is how music really started, troubadours singing tales around campfires, that’s how news passed from remote village to remote village and that’s at the heart of everything that Big Big Train create. When it is done as well as this then it is something quite remarkable to behold and the songwriting skill has to be applauded. Miramare is like a glorious ten minute audiobook set to music and you are drawn deep into this compelling and tragic tale as Alberto’s voice dominates proceedings, almost hypnotic in its timbre and delivery and the music is just exquisite, Clare’s violin imbuing some of the heartfelt passion that the story invokes. The highs and lows are superbly created and the crescendos reached are irresistible, Greg has really found another songwriting soul mate in Alberto and the partnership promises so much to come, musical storytelling really doesn’t get much better than this.
“Love is the light, Hiding in the corner of my eye, Love is your smile.”
I doubt you will hear a piece of music quite as beautiful as Love Is The Light this year, or any other come to mind. Poignant and heartfelt from the start, as Clare’s yearning violin plays, it’s a song that majors on Alberto’s gracefully profound vocals and the utterly mesmerising brass section, led once again by Dave Desmond. Ethereal and exquisite from start to finish, you find yourself lost in the moment, rooted to the spot, as the world carries on without you. This stunning song then reaches new heights with an incredibly moving, soulful guitar solo, one of those moments in an album that you will always cherish.
“One day we rode out, Side by side, For the last time, Nobody there, Knew we’d not, Ride together again.”
My whole body shivers as if someone has walked over my grave, Alberto’s vocal at the start of Bookmarks is a dead ringer for David’s, it’s uncanny and memories come flooding back. Another song that harks back to the future with a feel of classic BBT and the English pastoral prog they are so well known for. Initially, quite a subtle and subdued piece of music where keyboards, mellotron and vocal are all that is required to create a hushed, almost mesmeric, atmosphere. When the music builds, it does so carefully, still relying on the elegant, harmonised vocals to be centric to everything. A nostalgic, wistful track that flows serenely along with the accompaniment of the graceful guitars and violin.
“Shallow enders, Last eleven, Are we nearly there yet?, Can the likes of us, Find a place to call our own?”
None of the album’s eight songs were worked on with David Longdon. Although originally intended for an album entitled ‘Shallow Enders’ that never came to fruition, Last Eleven, the first song heard with Alberto’s voice, was written during the lifetime of his predecessor. An urgent guitar opens the song, there is feel of movement and pace about the music and Alberto’s high energy vocal delivery and Nick’s drumming is animated and spirited. An ode to the ones that make up the numbers, the oversights and the extras, it’s a track full of hope and optimism and that can be felt through the music and its catchy, infectious rhythm. A really uplifting and upbeat way to close out the album and one that leaves you almost breathless but full of confidence and belief, “Shallow enders, Last eleven, Are we nearly there yet? Can the likes of us, Find a place to call our own?”
What an emotional rollercoaster, I have spent the last four weeks listening to ‘The Likes Of Us’ at every opportunity. In the best tradition of Big Big Train albums of the past, it is not merely a collection of songs, it is a musical masterpiece that becomes part of your life and, for me, that means this album stands tall with the likes of ‘The Underfall Yard’ and English Electric’ 1 & 2. I know it is early in the year but it is going to take something incredibly special to topple this off the top of album of the year list and, for a long time fan of the band, that fills me with joy and makes me very happy indeed!
The award-winning progressive rock band Big Big Train will release their 15th studio album ‘The Likes Of Us’ on 1st March 2024 (InsideOutMusic). The album is the internationally-based group’s first full collection of songs since the unexpected passing of long-serving lead vocalist David Longdon in late 2021. Besides marking the debut of new frontman Alberto Bravin, a former member of the Italian band Premiata Forneria Marconi, it also heralds the beginning of a new relationship with InsideOutMusic, the group having self-released their music for almost two decades.
Today the band are pleased to reveal a second track taken from the forthcoming album. ‘Miramare’ is an edited version of a song that features in a longer format on ‘The Likes Of Us’. You can watch the video for ‘Miramare’, created by Miles Skarin of Crystal Spotlight, here:
Gregory Spawton comments of the track: “BBT is known for its story songs, and I was keen to find a story which is set in Italy. Alberto lives in Trieste and mentioned the story of Maximilian and Carlotta, which was both a romantic (but doomed) love story and also a tale of the end of empires.
Miramare was their castle home, a castle of dreams, set on the shore just outside Trieste. It turned out to be a grand folly and a place of madness and nightmares. Alberto had written a lovely piece of music and melody to set the words to and so it was simply a process of reading some books on the history and finding the way to tell the story.”
Alberto Bravin adds: “Having grown up in Trieste, and recently returned here after living for some years in London and Milan, the Miramare castle has been a backdrop for most of my life.
Putting the story of Maximilian and Carlotta into music with Greg has been hugely satisfying for me. It was very fulfilling to co-write this song together and create what will hopefully be regarded as a Big Big Train future classic. With all its twists and turns as the story progresses, Miramare should be great to play live as well.”
‘The Likes Of Us’ will be released on several different formats, including for the first time as Dolby Atmos mixed by The Pineapple Thief’s Bruce Soord, while the stereo mixes were undertaken by the band’s regular engineer Rob Aubrey together with Alberto Bravin. The Dolby Atmos mix will come as part of the Limited CD & Blu-ray Mediabook edition that also contains the album as 5.1 Surround Sound & 24-bit high-resolution stereo. The album will also be available as a Gatefold 180g 2LP (available in black, sky blue, olive green and orange formats), Standard CD Jewelcase and Digital Album. The stunning artwork was created by the band’s longstanding collaborator Sarah Louise Ewing, with layouts by Steve Vantsis.
Big Big Train will perform for the first ever time in the USA in March 2024, including an appearance on Cruise To The Edge. The full list of shows can be found below:
1st March – Sweetwater Performance Theatre, Fort Wayne, Indiana
2nd March – Rivoli Theater at the Williams Center, Rutherford, New Jersey
3rd March – Rivoli Theater at the Williams Center, Rutherford, New Jersey
5th March – Regent Theatre, Arlington (Boston), Massachusetts
8th-13th March – Cruise To The Edge, Miami, Florida
The band have also confirmed two summer 2024 festival appearances at the final Night of the Prog Festival in Germany on 21st July, and Cropredy Festival in the UK on 9th August.
Look out for more dates to be announced soon.
ALBERTO BRAVIN – Lead vocals, guitar, keyboards
NICK D’VIRGILIO – Drums, percussion, vocals, 12-string acoustic guitar, vocals
The award-winning progressive rock band Big Big Train will release their 15th studio album ‘The Likes Of Us’ on 1st March 2024. The album is the internationally-based group’s first full collection of songs since the unexpected passing of long-serving lead vocalist David Longdon in late 2021. Besides marking the debut of new frontman Alberto Bravin, a former member of the Italian band Premiata Forneria Marconi, ‘The Likes Of Us’ also heralds the beginning of a new relationship with InsideOutMusic, the group having self-released their music for almost two decades.
The band comments: “We are delighted to announce the release of ‘The Likes Of Us’. After the events of the last few years, this is a particularly important album for us, both as a band and individually. We’re very proud of the new songs, which we recorded principally in a studio in Italy. Working together in one room brought additional inspiration, real energy and a clear sense of purpose. We’re thrilled with the results.”
To coincide with this announcement, the band have launched the first single from the album, a track titled ‘Oblivion’ which the band were seen performing on their UK and European tour in August and September 2023. The video was filmed by Tim Sidwell of Toward Infinity at Urban Recording Studio in Trieste, and you can watch the clip here:
‘The Likes Of Us’ will be released on several different formats, including for the first time as Dolby Atmos mixed by The Pineapple Thief’s Bruce Soord, while the stereo mixes were undertaken by the band’s regular engineer Rob Aubrey together with Alberto Bravin. The Dolby Atmos mix will come as part of the Limited CD & Blu-ray Mediabook edition that also contains the album as 5.1 Surround Sound & 24-bit high-resolution stereo. The album will also be available as a Gatefold 180g 2LP (available in black, sky blue, olive green and orange formats), Standard CD Jewelcase and Digital Album. The stunning artwork was created by the band’s longstanding collaborator Sarah Louise Ewing, with layouts by Steve Vantsis.
In May 2023, six members of Big Big Train left their homes in England (bassist Gregory Spawton, guitarist Dave Foster and violinist Clare Lindley), the United States (drummer Nick D’Virgilio), Sweden (guitarist/keyboardist Rikard Sjöblom) and Norway (keyboardist Oskar Holldorff) to gather for a week in lead vocalist Alberto Bravin’s home town of Trieste in north eastern Italy. They convened at Urban Recording, a studio recommended by Alberto, to lay down the basic tracks for the band’s new studio album ‘The Likes Of Us’. Being face to face in a room, as opposed to emailing sound files, the intimacy of the process generated moments of inspiration that would otherwise have gone unheard.
The process would prove emotional. “There were some tears; I cried a few of my own,” recalls D’Virgilio. “There are many reasons to explain why we hadn’t worked that way in quite a while, but the process brought out the best in everybody.”
“These were stories from our lives and we have a deep, personal connection with them,” Spawton remembers. “If there was blood on the tracks, we did everything possible to let that sink into the music.”
On the group’s most recent tour, two selections from ‘The Likes Of Us’ – first single ‘Oblivion’ and ‘Love Is The Light’ – were introduced to an ecstatic audience response. During a tidal wave of rebirth and celebration for Big Big Train, Alberto Bravin was accepted as one of the family. Indeed, the chemistry of the band’s latest line-up has delivered mouth-watering results. “We’ve got a great mix of people that want to be here and go the extra mile to do something very special,” D’Virgilio concludes. “There’s a big world of talented musicians out there, and luckily some of them want to hang out with us.”
ALBERTO BRAVIN – Lead vocals, guitar, keyboards
NICK D’VIRGILIO – Drums, percussion, vocals, 12-string acoustic guitar, vocals
Big Big Train | Trieste, May 2023 | ph Massimo Goina
InsideOut Music is delighted to announce that it has signed Big Big Train to a multi-album deal for new studio releases. The band are currently working on a new studio album, expected to be released in spring 2024, and have recently been recording in Trieste, Italy, where lead vocalist Alberto Bravin is based.
Big Big Train bassist/founder Gregory Spawton comments: “We have ambitious plans for Big Big Train and are very pleased to have signed this deal with InsideOut. Having run our own record label, English Electric Recordings, for a lengthy period, it’s clear that the music industry has changed enormously in recent years and we believe that we are best positioned to grow BBT further by becoming an InsideOut band. Over the last decade we had received offers from various labels. When we considered the different options, signing up with the premier label for progressive music was the logical choice. We’re very excited about this new era for the band and working with InsideOut/Sony.”
Drummer Nick D’Virgilio adds: “It’s an absolute thrill for me that Big Big Train has become an InsideOut band. Over the years, previously as member of Spock’s Beard and more recently alongside Neal Morse and Ross Jennings, I’ve worked extensively with Thomas Waber and his team at InsideOut/Sony. From experience I know that there is no better label for Big Big Train to be working with. It’s wonderful to join a roster that includes the biggest names in the prog genre such as Dream Theater, Steve Hackett, Jethro Tull, Kansas, Devin Townsend and Yes. We’ve got a lot of new Big Big Train music in the works and with InsideOut’s unrivalled reach across the progressive rock world we hope to reach plenty of folks who may not be familiar with us yet.”
Label head Thomas Waber comments: “We have been in talks with the band for a while and are happy that we can finally announce our partnership. Big Big Train have been proudly carrying the flag for progressive music, and we look forward to helping them on their very bright journey ahead. We are all excited to be stepping on board this particular train!”
Check out a teaser of brand new music here:
In parallel with this deal with InsideOut, Big Big Train will continue to run their English Electric Recordings label and expect to commence a re-issue campaign for previous studio BBT albums in late 2024.
Big Big Train’s latest album, Ingenious Devices, was released on 30th June 2023 (CD, 2LP black and 2 LP sky blue vinyl; Bandcamp) and is available to stream.
The band will embark on their most extensive ever tour in August and September this year, with 17 shows taking place across 9 countries. Big Big Train will also be on board Cruise To The Edge in March 2024. Find the full list of dates in 2023 below:
24th August – The Court Theatre, Tring, UK (warm-up show)
26th August – Cultuurpodium Boerderij, Zoetermeer, The Netherlands
27th August – Markthalle, Hamburg, Germany
28th August – Stora Teatern, Gothenburg, Sweden
29th August – Cosmopolite, Oslo, Norway
30th August – Fryshuset Klubben, Stockholm, Sweden
31st August – Viften, Copenhagen, Denmark
2nd September – 2 Days Prog + 1 Festival, Revislate, Italy
3rd September – Z7, Pratteln, Switzerland
5th September – Neuberinhaus, Reichenbach, Germany
6th September – Victoria Carlswerk, Cologne, Germany
7th September – Colos-Saal, Aschaffenburg, Germany
According to the dictionary Glimmer means to shine faintly with a wavering light, which is interesting as I think Shimmer would be an equally meaningful title for what is a rather fascinating album from the Dave Foster Band. This release is one that uses lots of strong musical passages to get its point across. Through the entire album Dave Foster himself glimmers on the guitar, proving that his association with Steve Rothery is a symbiotic one in which both parties gain significantly in the process.
Take …Or You Steal Some with its creeping bass lines and it’s arpeggio guitar lines that form the thrust of the track. Vocalist Dinet Poortman’s excellent, breathy, and often fiery, vocals add much power and passion to the music the band offer. The song has tasteful guitar work from Dave and a solid rhythm section playing throughout, it’s a rather splendid track that draws you into the music. As does Chasing An Echo which has heavy bass keyboards and slide guitar from Dave that weaves it way through the track hypnotically. This song grows on you with repeated plays, as indeed does the whole album. It’s is a very mesmerising with lots of great highlights and is very ‘Marillion’ in parts, in the sound sculptures it paints, yet it has its own identity and uniqueness retained. Dive In is a little lighter but with a funky backbeat to it, it is a very bouncy number with crashing power chords that elevate the track once again. Dinet’s vocals really grab the attention with her great bland of power and subtlety proving a winning formula. Again, Dave delivers some snake slide guitar that impresses greatly, as does the really excellent solo he offers in the closing moments, blistering stuff!
Opening track Every Waking Moment is another blistering assault on the ears with lots of feedback and sustained chords and notes being used to good effect. Although it is when the song opens up sonically that the real crunch takes effect, and it is very satisfying when it does. The skill being employed here is very high indeed, especially when Dave delivers another fiery guitar break over a strong throbbing bass part and keyboards. This is really strong and exciting music being played here, barnstorming even. Memory Box is, on the face of it, a somewhat lighter track but don’t be fooled as within its grooves are some searching lyrics about keeping secrets and not being open. This is definitely a radio friendly track with lots contained within its four minute running time. Run is similar with real presence and punch. Again, this rocker is very satisfying, the more I hear this album, the more impressive it becomes. It is a definite grower, the synths looping on this song are most memorable and create a great atmosphere and add to a really good track.
Stigma is another hard hitting track with good power chords alongside a powerful lumbering bass line and good keyboards. This creates a fantastic sound, harmonious and yet powerful at the same time. There are good guitar fills from Dave in this track too, this is a very powerful performance that has melody and dynamism. Another excellent solo rounds the song out well. I love this guitar solo over the crunching rhythm section. I really like this track, it’s possibly the best on the album. The RulesHave Changed is hinged on a spidery guitar riff and more crunchy chord work that drives the song along nicely. The riff is repeated again, as are the punchy chords, which, combined with Dinet’s excellent vocals, work really well and create a great atmosphere. More guitar lines are added as the riff powers up before another fine Dave Foster solo really impresses.
This album has really grown on me over the past few weeks as I find much to appreciate and to enjoy within its grooves. It is a very accomplished and well produced set of songs where nothing outstays its welcome. Several of the tracks are absolute belters and make the album highly worthy of your attention as it is really very good indeed. I highly recommend it, now to check out his earlier releases I think.
Big Big Train will be on tour this summer and to celebrate and promote the forthcoming ‘The Journey Continues’ Tour this August & September, the group have been sharing videos of songs filmed on tour last year. The band recently shared the videos for “The Florentine” and “The First Rebreather” recorded in September 2022 at The Boerderij in The Netherlands.
The band is pleased to share the performance clip of “Atlantic Cable” recorded live at Friars, Waterside Theatre, Aylesbury, UK in September 2022. The live audio recording of the song is included on the band’s forthcoming Ingenious Devices album to be released on 30th June 2023 (full details below).
You can see the video of that performance here:
Bassist Gregory Spawton says: “One of the recurrent themes we’ve explored in Big Big Train over the years is how humans have been able to harness technology to make the world a better place. Atlantic Cable is a song about the laying of the first telegraph cables across the Atlantic Ocean in the 19th century. It was a mighty endeavour which helped to bring people together. We really enjoyed playing Atlantic Cable at the legendary Friars, Aylesbury last year and are pleased to share this film of the performance.”
Keyboardist Oskar Holldorff adds: “Following a warm-up show the night before, the gig in Aylesbury was my first official performance with Big Big Train, and what a night it was! Atlantic Cable was positioned early on in the set, and it felt great to work our way through a proper BBT epic in the beautiful Waterside Theatre. I particularly enjoyed the instrumental section starting at the 11-minute mark, in which Rikard Sjöblom’s brilliant clavinet solo was followed by Dave Foster shredding the house down!”
Saturday 26th August – Cultuurpodium Boerderij, Zoetermeer, The Netherlands Sunday 27th August – Markthalle, Hamburg, Germany Monday 28th August – Stora Teatern, Gothenburg, Sweden Tuesday 29th August – Cosmopolite, Oslo, Norway Wednesday 30th August – Fryshuset Klubben, Stockholm, Sweden Thursday 31st August – Viften, Copenhagen, Denmark
Saturday 2nd September – 2 Days + 1 Festival, Revislate, Italy Sunday 3rd September – Z7, Pratteln (Basel), Switzerland Tuesday 5th September – Neuberinhaus, Reichenbach, Germany Wednesday 6th September – Carlswerk Victoria, Cologne, Germany Thursday 7th September – Colos-Saal, Aschaffenburg, Germany Friday 8th September – Mozart-Saal, Stuttgart, Germany
Sunday 10th September – The Queen’s Hall, Edinburgh, UK Monday 11th September – Town Hall, Birmingham, UK Tuesday 12th September – Cadogan Hall, London, UK Wednesday 13th September – Cadogan Hall, London, UK
Support at all shows except Wednesday 13th September comes from rising Norwegian stars Dim Gray, who feature BBT’s Oskar Holldorff. There will be no support at the Wednesday 13th September show.
Big Big Train will release the album titled ‘Ingenious Devices’ on 30th June 2023 on CD, double vinyl (black and sky blue vinyl) and hi-resolution (24/96) Bandcamp download. ‘Ingenious Devices’ will be available on all major streaming platforms from 28th July 2023.
‘Ingenious Devices’ features 59 minutes of music, including new versions of “East Coast Racer”, “Brooklands” and “Voyager,” which prominently feature an elite 17 piece string section recorded at Abbey Road Studios in London and have been re-mixed for this release.
Additionally, ‘Ingenious Devices’ includes a previously unreleased orchestral piece called “The Book of Ingenious Devices”, which links “East Coast Racer” and “Brooklands”, as well as a live version of “Atlantic Cable”, which was recorded on the band’s tour in September 2022.
To celebrate and promote the forthcoming ‘The Journey Continues’ Tour this August & September, Big Big Train will be sharing videos of a couple of songs filmed on tour last year. The band recently shared the video for “The Florentine” recorded in September 2022 at The Boerderij in The Netherlands. Today, the band is pleased to share the performance clip of “The First Rebreather”, originally the opening track from their English Electric Pt.1 album.
You can see the video here:
Guitarist/keyboardist Rikard Sjöblom comments: “The First Rebreather was the first song I totally fell in love with when I joined Big Big Train back in 2014, so I’m always really happy when we include it in a setlist. The performance of it here at the Boerderij from last September is great and I’m glad the cameras were rolling! The moody intro, upbeat chorus and the eerie mid section, followed by the bombastic end section – it’s a masterpiece! I can say that, because I didn’t write the song! There’s something about the storytelling in this one that always gets me and Alberto delivers it really well.”
Bassist Gregory Spawton adds: “This song is based on the exploits of diver Alexander Lambert, who was the first man to use experimental rebreather diving equipment in a flooded tunnel. I remember drawing from Dante and Beowulf when I was writing the lyrics. The ebb and flow of the music also helps to deliver the story.”
Saturday 26th August – Cultuurpodium Boerderij, Zoetermeer, The Netherlands Sunday 27th August – Markthalle, Hamburg, Germany Monday 28th August – Stora Teatern, Gothenburg, Sweden Tuesday 29th August – Cosmopolite, Oslo, Norway Wednesday 30th August – Fryshuset Klubben, Stockholm, Sweden Thursday 31st August – Viften, Copenhagen, Denmark
Saturday 2nd September – 2 Days + 1 Festival, Revislate, Italy Sunday 3rd September – Z7, Pratteln (Basel), Switzerland Tuesday 5th September – Neuberinhaus, Reichenbach, Germany Wednesday 6th September – Carlswerk Victoria, Cologne, Germany Thursday 7th September – Colos-Saal, Aschaffenburg, Germany Friday 8th September – Mozart-Saal, Stuttgart, Germany
Sunday 10th September – The Queen’s Hall, Edinburgh, UK Monday 11th September – Town Hall, Birmingham, UK Tuesday 12th September – Cadogan Hall, London, UK Wednesday 13th September – Cadogan Hall, London, UK
Support at all shows except Wednesday 13th September comes from rising Norwegian stars Dim Gray, who feature BBT’s Oskar Holldorff. There will be no support at the Wednesday 13th September show.
Big Big Train will release the album titled ‘Ingenious Devices’ on 30th June 2023 on CD, double vinyl (black and sky blue vinyl) and hi-resolution (24/96) Bandcamp download. ‘Ingenious Devices’ will be available on all major streaming platforms from 28th July 2023.
‘Ingenious Devices’ features 59 minutes of music, including new versions of “East Coast Racer”, “Brooklands” and “Voyager,” which prominently feature an elite 17 piece string section recorded at Abbey Road Studios in London and have been re-mixed for this release.
Additionally, ‘Ingenious Devices’ includes a previously unreleased orchestral piece called “The Book of Ingenious Devices”, which links “East Coast Racer” and “Brooklands”, as well as a live version of “Atlantic Cable”, which was recorded on the band’s tour in September 2022.
To celebrate and promote the forthcoming ‘The Journey Continues’ Tour this August & September, Big Big Train will be sharing videos of a couple of songs filmed on tour last year. The first of these is “The Florentine” which was recorded in September 2022 at The Boerderij in The Netherlands. You can see the video here:
Alberto Bravin says: “I was very pleased when we agreed last year that “The Florentine” should be on the set list for our shows last September. After all, what could be better for an Italian than singing about Leonardo da Vinci?! “The Florentine” is a wonderful song to sing and a perfect example of David Longdon’s songwriting genius. We’re very fortunate to have the song as part of the Big Big Train catalogue.
“Duetting at the start and end of “The Florentine,” with Nick D’Virgilio coming out from behind the drum kit, was fun. It has some great opportunities for ensemble playing as well as some showcasing some terrific solos – I really enjoyed being on stage watching Oskar Holldorff playing that keyboard solo and Rikard rocking out on the guitar solo every night. For the gig at the Boerderij we thought it would be interesting to have a camera on Rikard’s guitar too. I hope we will be playing “The Florentine” live many more times in the future.”
Nick D’Virgilio adds: “I loved singing with Alberto. Seeing the live film of us playing “The Florentine” at the legendary Boerderij venue in the Netherlands is so cool. It still amazes me that this was only our third show playing together with Alberto, Oskar, Clare Lindley and Dave Foster. Our performance may not be 100% perfect but we really rocked and it was very memorable – particularly for a Monday night!”
“Our Boerderij show was also the first time that we had played a standing venue since our Night Of The Prog gig back in 2018. The night had a different vibe to the shows we’ve done in seated theatres on previous tours and I’m really looking forward to us playing a mix of venues when we’re back out on the road in August and September this year.”
Saturday 26th August – Cultuurpodium Boerderij, Zoetermeer, The Netherlands Sunday 27th August – Markthalle, Hamburg, Germany Monday 28th August – Stora Teatern, Gothenburg, Sweden Tuesday 29th August – Cosmopolite, Oslo, Norway Wednesday 30th August – Fryshuset Klubben, Stockholm, Sweden Thursday 31st August – Viften, Copenhagen, Denmark
Saturday 2nd September – 2 Days + 1 Festival, Revislate, Italy Sunday 3rd September – Z7, Pratteln (Basel), Switzerland Tuesday 5th September – Neuberinhaus, Reichenbach, Germany Wednesday 6th September – Carlswerk Victoria, Cologne, Germany Thursday 7th September – Colos-Saal, Aschaffenburg, Germany Friday 8th September – Mozart-Saal, Stuttgart, Germany
Sunday 10th September – The Queen’s Hall, Edinburgh, UK Monday 11th September – Town Hall, Birmingham, UK Tuesday 12th September – Cadogan Hall, London, UK Wednesday 13th September – Cadogan Hall, London, UK
Support at all shows except Wednesday 13th September comes from rising Norwegian stars Dim Gray, who feature BBT’s Oskar Holldorff. There will be no support at the Wednesday 13th September show
Big Big Train will release the album titled ‘Ingenious Devices’ on 30th June 2023 on CD, double vinyl (black and sky blue vinyl) and hi-resolution (24/96) Bandcamp download. ‘Ingenious Devices’ will be available on all major streaming platforms from 28th July 2023.
‘Ingenious Devices’ features 59 minutes of music, including new versions of “East Coast Racer”, “Brooklands” and “Voyager,” which prominently feature an elite 17 piece string section recorded at Abbey Road Studios in London and have been re-mixed for this release.
Additionally, ‘Ingenious Devices’ includes a previously unreleased orchestral piece called “The Book of Ingenious Devices”, which links “East Coast Racer” and “Brooklands”, as well as a live version of “Atlantic Cable”, which was recorded on the band’s tour in September 2022.
