Concert Review: Fish (Aylesbury Waterside Theatre - Friday 28th February 2025)

Written: 1st March 2025

There are some bands and artists that play such a huge part in your life that it seems almost impossible to remember a time that they were not there. Similarly, over a number of years, it also easy to believe that they are immortal in both the literal and musical sense. For me, Fish is one of those artists. First becoming a fan during his latter days in Marillion but unfortunately being a little too young to witness him with that band, I first saw him perform live at two solo gigs in November 1989 at The Town and Country Club (now the Forum) in London. Thus began a more than thirty-five year odyssey of following the charismatic frontman through his highs and lows and therefore, I make no apology for the extremely personal nature of this review.

Delayed for various reasons, including the pandemic, we finally arrive at Fish's farewell tour, a genuine last chance to see an icon of progressive rock in the live arena. Every gig on this tour has been and will be special but the opportunity to see him one last time in the town where his adventure began was too good to miss.

As a sold out crowd gathers in the auditorium, there is an electric buzz of expectancy mixed with good natured discussion of memories relating to Fish. As the curtain rises, the house lights are extinguished and the first strains of Rossini’s La Gazza Ladra are heard as the audience settle. The band begin to take their places and are joined by Fish and immediately there is a moment of humour as the first shout for Grendel (which after the first song, Fish jokingly calls a premier league record) causes him to restart the first line of opening track Vigil with a smile. I had expected the concert to be something of an emotional event but within the four or five lines of Vigil beginning, the goosebumps were raised on my arms, accompanied by a feeling of emotion that threatened to overwhelm me within the first few moments.

One of my favourites amongst his solo tracks, Vigil immediately took me back to those gigs at The Town and Country Club. What was also apparent from the outset was the respectful nature of the audience. Sitting in the fourth row of the first circle, the quieter moments of Vigil flow gracefully through the air without a single person talking. This was the case throughout the concert and I thank those who attended that they were as keen to absorb every moment as I was.

Further adding to the feeling of coming full circle, keyboardist Mickey Simmonds has rejoined the band alongside Fish’s long term collaborators Steve Vantsis, Robin Boult, Gavin Griffiths and Elisabeth Troy Antwi. Together, they form an extremely solid backing for Fish, even if in very rare moments it is noticeable that the earlier tracks written for two guitars lack some of the subtler nuances. However, this is a minor concern and as the concert continues with full crowd participation on Credo and a pulsating Big Wedge, it is pleasing to hear Mickey Simmonds playing the lines he composed, his hands expertly dancing from one keyboard to another as he adds the brass embellishments during the latter.

Photo credit: Karen White

Fish has had some difficult personal and business related times during the past thirty years but has remained defiant throughout, Pipeline from Suits encapsulating many of the frustrations he was experiencing in the early nineties. The darker, murky atmospheres of Shadowplay – a highlight of the Internal Exile album – added a different dimension to the performance, Fish telling us that the lyric for the song had it roots in Aylesbury.

This evening is about a man and his music and, as such, the lighting throughout the concert is tastefully simple, allowing for full focus on Fish and his band. A screen behind the band displays album and single covers and in the case of one song, lyrics.

Even the most ardent Fish fan would confess that his voice does not have the range that he once possessed, a fact reflected on his last three studio albums during which he sensibly began to write in a way that was more conducive to this. Those albums are amongst my favourites as shown by my article ranking his studio albums (read here) and his performances of the title tracks of Weltschermz and Feast of Consequences are eloquent and compelling.

Referencing another tricky time in his life, Fish introduced Just Good Friends with the story of how the originally planned duet did not come to pass as he was ‘persona non grata’ with much of the record industry due to his court battle with his former record company and how this led to several unsuccessful attempts to find an artist with whom he could record the song. Later of course, the duet with Sam Brown was released and tonight Liz Antwi takes on her role, the duo relishing in the performance; Antwi added her own uniquely exquisite take on the track.

With Fish varying the setlists across the tour but having played Plague of Ghosts on almost every night of the UK leg of the tour, I will admit it was a song I was hoping to hear. However, instead were treated to the lyrically wonderful and always enjoyable Goldfish and Clowns and my favourite track from Weltschermz, Waverley Steps (End of the Line), a track which Fish - along with Neil Peart my favourite lyricist of them all - refers to as one of his most personal. During the latter, the band show just how cohesive they have become across the length of this tour, the instrumental section at the end of the song and Robin Boult’s guitar in particular, being one of the musical highlights of the evening.

Photo credit: Tracy Kirrage / Wendy Williams

It was inevitable that Fish would perform some material from his time with Marillion during the evening and the main set ends with a truly rousing version of Fugazi which receives a rapturous reception. Fish – always the natural frontman - gives a wonderful performance during this track, some of the vehemence from the original spilling out as he encourages the audience to join him. Fists punch the sky and voices are raised throughout the song, the epic conclusion finding the audience united as one.

Returning to the stage for the first of three encores, Mickey Simmonds and Fish show just how good a song writing partnership they had in the early days with a beautiful keyboard and voice rendering of A Gentlemen’s Excuse Me, still one of Fish’s best lyrics. The trio of singles from Misplaced Childhood – Kayleigh, Lavender and Heart of Lothian -  sees the audience participation step up yet further, Heart of Lothian bringing out some heartfelt emotion from the big Scotsman.

While there are many locations and venues that have unique significance for Fish, Aylesbury has always been the spiritual home of Marillion. “It has to be done,” comments Fish as the unmistakable opening of Market Square Heroes rings out, meaning this really was a career spanning setlist. In the town that inspired the track, the gathered throng more than play their part. As we sense the concert is coming to an end, each member of the audience raises their hands once more and prepares to say farewell.

Concluding a soul-stirring evening, the final goodbye comes in the form of third encore The Company. Fish truly values his fans and this becomes more and more obvious as the emotion of song washes over him. Soaking up the applause Fish thanks us for our support over so many years telling us his name is Derek and he is only Fish for another couple of weeks. After one final long bow alone on the stage, he departs with one hand raised to the crowd in salute until he disappears from sight. It was a remarkably poignant moment.

It is difficult to put into words what Fish has meant to me over the last forty years and I still have not come to terms with the fact that this really is the end of his live career. He will be much missed. I look forward to the long awaited autobiography with anticipation…