“We had the idea to do a ‘lockdown’ version of Made Again for you all.
Unbeknownst to us, our manager Lucy made a call (via social media) to ask fans to send in videos of themselves, in the hope of replicating the ‘Made Again Stage Invasion’ (at our Marillion Weekend in 2013) to surprise us!
Lucy and Tim Sidwell (from Toward Infinity), then came clean to us of their plan and added our ‘at home’ videos and recordings into the mix.
So here is a beautiful video of hope from around the world.
A better way of life? For sure. We hope you all enjoy it.“
We will be making announcements about our Marillion Weekends that are due in 2021 at some point next week.
In the meantime, stay safe and healthy.
“Like a bright new morning, Like a bright new day, I woke up from a deep sleep,
I woke up from a bad dream, To a brand new morning,
To a brand new day, Like the whole world has been made again”
h, Ian, Mark, Pete and Steve Made Again will be released as a Charity Single over the next few weeks.
“Marillion, that’s that band with that Fish bloke in, did that song called Kayleigh…?”
If you’re a fan of the very long career of UK progressive band Marillion then you’ll have heard that question many a time. They have made it fashionable to be unfashionable in an ever changing industry that rewards the latest thing, in fact they’ve made a successful career out of it.
So then, how is it that a band most people seem to think ceased to exist in the mid 80’s can sell out the holy grail of live venues for two nights? There’s two reasons really, first because of a fan base that revere and love them (almost obsessively, if last night was anything to go by) and, secondly, because they are a live experience that should be on your bucket list!
Having played the RAH two years ago with a six piece orchestra, Marillion have decided to reinvent some of their tracks that they feel fit especially well in that format and are releasing an album (Marillion With Friends From The Orchestra) at the end of this month.
So it made sense to go out on a UK tour to promote the album and play in venues that would give the format some stunning backdrops? Of course it did!
The evening started with a short support set of cleverly crafted singer songwriter material from the talented Harry Pane, whose short but enjoyable acoustic guitar and double bass material was warmly received by the building audience.
However it was the main event that everybody had come to see and as the six piece orchestra walked on to the stage, followed by the band, the anticipation of the audience could literally be felt.
Marillion launched into an intense version of Gaza with frontman Steve Hogarth prowling the stage like a tormented soul, his on stage persona and antics are always an integral part of the band’s superb live shows.
The light show and backdrop graphics added to the intensity of proceedings as the band played a set littered with their greatest songs, twenty minute plus tracks that flew by leaving the audience at times speechless and at others rapturous and raucous, the alcohol maybe giving vent to some 50 and 60 year old fan’s long years of admiration where normally they would be more reserved.
The orchestra fitted in seamlessly with the strings bringing a euphoric feel to the somber brilliance of Estonia and lifting my all time favourite Marillion track, Season’s End, to incredible new heights, Steve Rothery’s solo bringing a lump to my throat and I’m sure I had something in my eye…
A wonderfully theatrical version of The New Kings from the band’s latest album F.E.A.R had the audience hooked on every word, engrossed as Hogarth led us through the mire of the modern world and this was followed by a brilliantly spirited Man of a Thousand Faces that had the audience singing along.
This once in a lifetime experience was finished by a two piece encore starting with a rocking take on Seperated Out with an excerpt from Led Zep’s Kashmir that even had the orchestra rocking out.
Things finally came to a close with an emotive and tumultuous version of long time fan favourite This Strange Engine that ebbed and flowed superbly for over twenty minutes before bringing the house down with heartfelt applause and adulation.
Thirty years on from when Steve Hogarth joined the band, Marillion still do things there own way. They did crowd funding before it was fashionable and they put on a live experience like no other. On nights like these they are untouchable to their fans and long may it continue. Now, who’s that Fish bloke…?
“Play Seasons End, play Seasons End, please.play.Seasons.End…Fuck, they’re playing Seasons End!!”
And that, my friends, made what was already an incredible, emotive and stunning gig by one of my all time favourite bands the best gig I’ve ever been to. Yes, it was that bloody good!
Now I know I’m a lucky sod, I get to go to all sorts of live music events for free just because I write (hopefully, pretty well) about them but this was something different. I’d gone with one of my oldest friends (and a Marillion gig virgin) and we were meeting my great friend Iain Sloan of Wynntown Marshals and Abel Ganz fame (to name but two!), who had made the long journey down from North of the border, for a quiet beer or two before the show (see picture above).
York Barbican is a great venue, quite intimate while also having a very decent capacity and brilliant sound. This created a suitably intense atmosphere as the crowd built awaiting the support act Roxanne de Bastion. This talented singer/songwriter came on to a big round of applause from an already three quarters full venue.
Roxanne had broken her left ankle before the tour began but took it all in her stride as she sang her haunting and beguiling songs with more than a flavour of roots music to them. With stories garnered from personal experience she managed to keep the attention of the crowd and her voice and pared back, simple guitar and piano playing were pretty impressive. The only issue for me being that she did look slightly out place on her own in what is quite a big venue, not that this affected her performing in any way. As an appetite whetter before the main event, I was very impressed and this gifted musician is one I will be seeking out in the future.
A quick nip back to the bar to re-imbibe before the anticipated brilliance of Marillion…
A dynamic and powerful opening salvo of El Dorado got the crowd going immediately and you sensed that the band were on good form as an ebullient Steve Hogarth prowled around the stage, his animated delivery a real highlight. This was immediately followed by a seriously compelling version of Power that had electricity sparking around the venue, Steve Rothery’s superb guitar playing making the hairs on the back of my neck rise, you just knew tonight was going to be a mesmerising experience.
All of the band were playing with fluidity and an almost carefree attitude, perhaps it was because it was the last night of the tour but, for me, they were putting all of their heart and soul into every note and every word.
Captivating versions of Quartzand The Party followed as the band went through their repertoire of carefully chosen tracks from over 30 years of making emotionally charged music and the adoring audience lapped it all up. It was like being in the middle of a cult but a wonderfully civilised one. There were standing ovations at the end of every track, Marillion could do no wrong tonight…
And then they played bloody Seasons End…What a spine-tingling, jaw dropping eight minutes that was, one of my favourite all time songs played by one of my all time favourite bands and with a guitar solo that soared to the heavens and was so full of emotion that I was lost in reverie. After the rapturous applause had died down Marillion delivered a thunderous performance of Living In Fear, the second track from current album ‘F.E.A.R’, one that seems to have given the band a new lease of life and attracted quite a few new followers to these veterans of the progressive scene.
The setlist took a ninety degree turn next as a band full of the confidence of a succesfull tour traded banter with the appreciative audience, Steve Hogarth asking Mark Kelly if they could swap Out of This World for a fan suggested White Paper and, to the cheers of the audience, they did! There was a real warmth and humour evident throughout the evening, the band were relaxed and obviously enjoying themselves and that came through in the performance.
A stirring rendition of The Leavers followed by Wave and Mad ramped the atmosphere through the roof, here is a band at the height of their not inconsiderable musical powers, Pete Trewavas bouncing around the stage and engaging in some gentle banter with Hogarth while Ian Mosley was an animated demon behind the drum kit, as ‘h’ would say, a bloody impressive pub band indeed!!
The set was completed by a blistering Afraid of Sunlight and a truly emotive performance of perennial fan favourite The Great Escape that surely had more than just a few eyes moist. At the end of every track virtually the whole theatre were on their feet cheering and clapping, just lost in the wonderful moment.
You know when the band leave the stage that there is going to be an encore and what an encore it was, a poignant and evocative Easter which contained possibly Rothers’ most impassioned solo ever and then a reverently received version of Sugar Mice that left the audience emotionally charged.
At this point I left, hoping to avoid the crowds but the opening notes of Garden Party had me rushing back in to the side of the stage to experience what was a group of friends enjoying themselves and playing music that they truly love, it was just magnificent!!
This time the crowd really did go wild…
So, there you have it, Marillion live at York Barbican, music really has the power to move you and bring a lasting joy to your heart and soul and, on this night, I had my most special musical epiphany ever and it just doesn’t get any better than that.
2nd March 2018 – On 2nd April Marillion release ALL ONE TONIGHT the live DVD of their Royal Albert Hall Show filmed in October 2017. On 26th March, there will be screenings of the show in 6 Everyman Cinemas across the UK. Marillion will host the screening at the Kings Cross Everyman. Tickets available from:
On October 13 2017 Marillion played the Royal Albert Hall for the first time in their near forty year career. The show sold out in minutes, a full year before the band took to the stage at the iconic London venue. The audience, many of whom had travelled over oceans for the show, were treated to a Marillion show like no other.
In two parts, ‘All One Tonight’ firstly showcases the band’s acclaimed 2016 studio album ‘F E A R’ in full. Accompanied by an awe inspiring light show and films, Marillion perform their incisive and era defining zeitgeist with unparalleled passion and power.
The second half introduces In Praise of Folly and guests, a string quartet with flute and French horn that throughout the rest of the show inject an extra depth and emotion to some of Marillion’s best loved live material. Once again, with amazing lights and audience participation, Marillion steal the night, proving that they more than belong on the stage that has been trod by the most acclaimed musicians. Directed and edited by Tim Sidwell, recorded and mixed by Michael Hunter, ‘All One Tonight’ is a Racket Records and Toward Infinity production.
Marillion embark on their UK tour on 8th April.
FULL 2018 Tour Dates are:-
Date City Venue
Sun 8th April Belfast Ulster Hall NEW DATE
Mon 9th April Dublin Vicar Street NEW DATE
Wed 11th April Gateshead The Sage last few tickets available
Fri 13th April Cambridge Corn Exchange SOLD-OUT
Sat 14th April Birmingham Symphony Hall SOLD-OUT
Mon 16th April Brighton Dome last few tickets available
Tue 17th April Bristol Colston Hall SOLD-OUT
Thu 19th April Reading Hexagon SOLD-OUT
Fri 20th April Liverpool Philharmonic Hall SOLD-OUT
Sun 22nd April York Barbican NEW DATE
Tickets available from myticket.co.uk, seetickets.com & venue box offices.
Prog rock giants MARILLION announce 7 new UK dates in April 2018 on the back of their October show at The Royal Albert Hall, which sold out within four minutes of going on sale, and The London Palladium in November, which also sold out in record time.
MARILLION’S music is more than prog, it’s musically-experimental and yet-emotional. Within the genre it has a uniquely soul-baring aspect which sets the band apart and has elicited an almost religiously zealous following. After nearly 40 years, the band has evolved into a vibrant and international musical force, flourishing seemingly outside of fashion and mainstream media exposure. Since their formation, they have had 19 Top 30 singles, four of which made the Top 10.
Their most recent album, F E A R (Fuck Everyone and Run), peaked at No. 4 in the UK album charts and No. 1 in the rock chart last year and was given a 5-star review by The Guardian.
Steve Hogarth says: “I have been part of this band now for 27 years and it barely feels like 10. I think we’re as inspired as we ever were, and we’re still enjoying creating together. Luckily our music has remained free to evolve and change without the constraints of a corporate music business which otherwise might have killed us.
By reinventing the business-model we have maintained a one-to-one relationship with our fans, and that feeling is never more apparent than at the live shows. It’s always a pleasure to share a room with “the family” and exchange the passion on stage with the passion off stage.
We’re playing a few places we haven’t visited for a while. Long overdue. ‘Really looking forward to this little outing.”
MARILLION are not just musically innovative… they are widely acknowledged to be the first band to use the-now-commonplace crowdfunding scheme. Pledge Music and Oxford University have acknowledged that the band invented the business model. In the late 90s, fans sponsored an entire US tour. Their first crowd-funded album was Anoraknophobia, released in 2001.
Winners of a staggering EIGHT Categories in 2016 Prog Mag Awards (see Notes to Editors), MARILLION elicit remarkable devotion from their international fan base. To those who already love MARILLION, the band is something special. To the uninitiated, it’s a love affair waiting to happen.
2018 Tour Dates as follows:-
Date City Venue
Wed 11th April Gateshead The Sage
Fri 13th April Cambridge Corn Exchange
Sat 14th April Birmingham Symphony Hall
Mon 16th April Brighton Dome
Tue 17th April Bristol Colston Hall
Thu 19th April Reading Hexagon
Fri 20th April Liverpool Philharmonic Hall
Tickets available from myticket.co.uk, seetickets.com & venue box offices.
On October 13th, MARILLION released an EP on earMusic featuring a live version of their epic “Living In F E A R” “Living In F E A R” which hit the no. 1 spot on the physical singles chart for 2 weeks. The EP comes in limited CD Digipak as well as in a limited and numbered 12” Vinyl Edition, which includes three additional unreleased live songs.
Steve Hogarth – lead vocals, lyrics, keyboards, guitars, percussion
Steve Rothery – electric guitars, acoustic guitars
Pete Trewavas – Bass, Guitar, Backing Vocals, Piano.
Mark Kelly – keyboards, samples and effects, backing vocals, programming
Let’s get this out of the way first, I have been a Marillion fan, since ‘Market Square Heroes’, not as fanatical as some but have every album from both eras and solo projects. I have seen them many times live and they have seen me through the highs and lows of my adult life, always there to bring wonder, amazement and comfort. I refuse to choose which era I prefer as both are in their own right part of a greater whole that make this band not only one of the greats of Progressive music, but one of the best bands I have ever heard. Pioneers of crowd-funding they created a whole new ecosystem in which to survive and prosper, where others fell to the whims of the press when the genre stumbled to the fickle fancies of the general great unwashed.
If we are to believe that life is one big cycle, everything must come around again, as in fashion and also the popularity of music. The quality of Marillion’s output and personal symbiosis with their adoring fans have carried them over a 38 year career and eighteen albums, quite often against all odds, and shown the way for others to follow. Free from the shackles of large labels and self sufficient it has enabled them to create under their own rules a beautiful distinctive sound. They have never really ‘gone away’ or ‘made a comeback’, producing consistently strong material. It is to be expected then that a band who have always been able to make social comment, (‘Easter’, ‘Season’s End’, ‘Brave’….) and are not afraid to tackle uncomfortable subjects, should go all out on the new album to try and prick the conscience of the human race and open our eyes to the mess we are making of this wonderful planet on which we have the privilege to be born.
Why is it we, who consider ourselves the ‘superior’ race continually attempt to waste all before us with greed and want, when in reality there would be plenty for all if only we would look after the world we live in and work with and not against the planet and everyone on it. Such is the constitution of man, but there is no fantasy in the fact we are pushing ourselves to destruction and there will be no happy ending if we do not change our ways, Mother Nature will have her revenge on the pretentious, foolish notions that we can control her.
Can the New Kings save us from ourselves through the message of music, it would be naïvely sweet to think so and the intention is sincere. Whether it does depends on you dear listener, but for myself the lyrics may serve to open my eyes, but the music opens my heart. Listening to Marillion makes me feel I want to be a better person and fills me with a warm glow. Previews and internet gossip may, erroneously lead you to believe this is decidedly different from previous albums, it’s not. What you will hear is the culmination of personal experience spread over four decades, condensed and poured like liquid gold into your ears, on what many may feel are some of the best tunes the band have ever written. All brought together on an album that dares to try and topple ‘Afraid of Sunlight’ from my ‘favourite’ spot.
Let me try and convince you a little further, are you sitting comfortably? Then I will begin….
Our first story warns of an impending dramatic change in the five piece El Dorado. The album title sung so sweet a chorus, you could almost be forgiven for mistaking the impact it aims to create. This is not flippant or irreverent comment meant to shock, rather to indicate the evil that men and women do and what it generates in humanitarian, ecological and financial terms. Ignorantly disregarding the warnings of disaster we are bringing on ourselves, the analogy of a devastating, approaching storm illustrating our shame exquisitely. What future are we creating and what legacy will we leave our children and future generations?
The next tale urges us to seek an end to wars and work to universal peace, no longer to be Living in Fear. You could be forgiven for thinking the band were trying to create a ‘Hippy’ utopia with the 60’s echoed sentiments, but in a world that that has grown increasingly bitter and violent, maybe those with flower power had something greater to offer us after all. Mocked, before their time, and over-dramatic with portents of an all too scary real life in which we now live. Who are we now to cast aspersions, seeing them as just a quirky trend in the past only makes fools of us now. An infectious chorus will dig into your consciousness, lodging there and carrying the new day message of hope, should we ignore it or join hands across the world in harmony?
Almost an antithesis to Thankyou Whoever You Are from the album ‘Somewhere Else’, as a pentagonal prosopography, The Leaversis the narrative of a band and crew’s life from a behind the scenes perspective. The constraints of a life on the road, showing a more personal tale of the strain on all involved. Constantly on the move, setting up/packing up and repetitive routines. Hardly ever home and when you are, restless, never fully settled whilst something tugs at you, drawing you back to the nomadic world you have become accustomed to. The testing of relationships as you struggle to fit into the family dynamic and their daily rituals, the feeling of being an intruder. Each section of this extensive song segues into the next as the band smoothly slide between passages.
Steve Hogarth’s heartfelt vocals perfectly catch the requisite emotion for the rest of the band to feed from, creating layers of luscious strings at the fingers of Messrs Pete Trewavas rhythmic bass and Steve Rothery’s soaring guitars, intertwining with the percussive symmetry of Ian Moseley’s drums, all laid on a quilted bed of Mark Kelly’s delicious keys. The coherence of the the band’s music on this album has never been more tangible and a further fitting analogy as to what we could all achieve if we worked in harmony together for the common goal, in their case this beautiful thought provoking album.
The delicate piano and wistful vocals illustrate our ageing, which can creep up on us as the realisation dawns we can no longer mentally or physically do all we could or would like to. We all too soon become observers of The White Paper on which we have painted our lives. Visiting our past whilst we innocuously watch the world pass by. Bitter-sweet, verging on regretful reflection of what we lose, as the music builds for the yearning of youth when everything was fresh and colourful, rapidly resigned to greyer shades of obscurity. Could we, should we have done more whilst we were capable?
What have we not unearthed in dark depth from our tales so far? Ah, yes, greed and corruption. There is no ‘need’ for some but a ‘want’ to own, take control, hold dominion over those below and less fortunate at any cost. There is always someone whose avarice will override their common sense of decency in a corrupt corporate society where power matters to The New Kingsabove all else. Revelling in others’ misfortunes whilst building empty steel and glass castles to their vacuous domains, in which the echoes of the titled chorus ring. Any assumed pleasantries in previous tracks are disregarded on this epitaph of the evil that men do, dispensing with the subtleties to expose the core of this world’s impropriety.
This album resonates on every level of my senses, be it my own advancing years that force me into the realisation that in my humanity I too have been guilty, on however a small scale, to some of the above at some stages in my life. Before I put my soapbox away I would like to end on this. It is not someone else to blame, it is not someone else’s fault. We are all accountable. Wake up and smell the roses, whilst they still grow. Stand up and be counted. Do not live in F.E.A.R.