Written; February 4th 2023
Although the birthplace of acts such as XTC and Justin Hayward, Swindon does not lay claim to be a hotbed for music. However, as vocalist Martin Jakubski comments during the show, Swindon was among the very first places StillMarillion played in England during their early ventures south and they have been well received at different sold-out venues in the Wiltshire town over many years. Now being a traditional part of the first StillMarillion gigs of each year during the first weekend in February (Derby on a Friday, Swindon on a Saturday), the band draw another packed crowd to The Vic eager to participate in an evening celebrating all things Marillion.
The band take the stage to the familiar sounds of Rossini’s La Gazza Ladra and guitarist Mark Mitchell raises his drink to the crowd (which he does at this time at every gig) as an expectant audience await the first notes of one of the usual opening songs. However this time, the band begin a familiar beat and StillMarillion launch into Market Square Heroes, a song they have ended their concerts with for the entirety of their fifteen years. Immediately responding, the audience sing, clap and encourage as if it is indeed the final song of the night. While opening with such a well-loved encore surprises the gathered masses, it allows the band to raise the roof from the outset and they do not let up the tempo for the first three tracks.
Market Square Heroes segues immediately into the 7” version of Assassing with some particularly deft keyboard work from Stuart Clyde and the crowd raise their hands once again in response to Jakubski’s encouragement to be a full part of the evening, a trend that has long been an essential element of the band’s ethos. Also evident across the entire gig is the wonderful camaraderie that the band display; interim jokes and on-stage banter simply add to the fun that the quintet so clearly have each and every time they set foot on stage. Musically, they are tighter than ever and having seen them play every year since their formation, Hotel Hobbies can confidently state that this was one of the best. For a small venue, the clarity of sound and instrumental balance was immaculate. Speaking to Martin after the show, he confirmed how much the band appreciated the in-house sound technicians at The Vic and their dedication to detail during the soundcheck.
A rampantly exuberant version of Assassing ends and they launch into another high-tempo song: the first single from Fugazi (which this year celebrates its fortieth anniversary – terrifying, as Jakubski calls it ), Punch and Judy. Accompanying the biting lyrics with venomous zest, the band have already found their groove and there is hearty singing from a crowd determined to enjoy every moment.
Before introducing the next song, Martin comments on just how loud the crowd in Derby had been the night before and lays down the gauntlet of bettering them. The title track from Marillion’s debut album will form the first part of that test and as the combined voices of The Vic begin the tale of swings and roundabouts; it seems that the challenge has been accepted. Script For A Jester’s Tear remains an incredibly popular song and they perform it exquisitely, echoing the dark beauty within the lyrics. The intricate and precise interplay between Barrie, Mark M and Stuart during the quieter central section has never been more breath-taking and a respectful and fully invested audience savour each note. At the song’s conclusion, the crowd celebrate as the band confirm we have indeed been victorious over Derby. The first B’ Side of the night follows: a particularly heavy version of Three Boats Down From The Candy as we delve into some of the earliest Marillion material.
Last year, the band played a significant amount of Clutching At Straws to celebrate its thirty fifth anniversary so tonight, it is understandably less represented in the set. Warm Wet Circles - one of Fish’s best lyrics from any period – is in fact, the only song from that album tonight, as instead of flowing into That Time of the Night, StillMarillion dive straight into Blind Curve (a segue they have played previously, albeit not that often). The central track of side two of Misplaced Childhood is a sinister and baleful place and the band draw us in with their spellbinding rendition. Mark Mitchell has mastered each of Steve Rothery’s solos and with eyes closed and total commitment to the moment, he captivates every person watching. Perimeter Walk is particularly stunning as its murky and apprehensive atmosphere pervades the venue. Mark Bray’s drums thunder down with apocalyptic power but never less than perfect control. Like a refreshing shower, Childhoods End? lifts the sprits and cleanses the soul. A joyous celebration after the often bleak and tenebrous moments of Blind Curve it brings the audience together once again.
Twice during the night, as Martin tries to introduce the next song, the band go off at a tangent due to a comedic shout from the audience. A short synth-wave version of Wonderwall by Oasis led by Stuart causes much hilarity and a quick burst of Black Night by Deep Purple – both of which it seems the crowd would have been happy to have more of – further illustrate the amazing relationship the band have with their fans and with each other.
As it happens, the next song causes a ripple amongst a few attendees but as Jakubski jokingly states, “It’s been 35 years, get over it.” Seasons End, the title track from Marillion’s first album with Steve Hogarth, is a radiant and sumptuous piece of music, even if the lyrics remain depressingly relevant. Having made their name focusing on the Fish era, StillMarillion have made it clear recently, that for longevity and own creative interest, their wish to vary their setlists. Singing the Fish era songs Martin aims to bring out the Scotsman’s pronunciations and inflexions. Here, he ventures further into the wondrous qualities of his more natural voice backed by another flawlessly performed guitar solo from Mark. Like Marillion’s bassist, Barrie is the most unassuming and understated member of the quintet but his subtle and bewitching bass work shows just how he is important to their overall sound. Cinderella Search revisits the Fugazi era and there is enthusiastic involvement from each member of the crowd.
Just as Seasons End represented Marillion’s first recorded material after the departure of Fish, Vigil In A Wilderness of Mirrors is another fan favourite and next we are treated to two tracks from his debut solo opus. Big Wedge is an arrestingly cogent track perfectly suited to the live environment and StillMarillion attack it with animated zeal. It is another song which is still lyrically relevant and there is a flamboyant yet serious edge to Jakubski’s delivery. Cliché takes a different approach: poetic and luxurious in weaving its narrative; the entire band giving spectacular performances including anotehr stunning guitar solo and Martin spectacularly holding the final note for what seems like forever. Ending the main set with a stirring rendition of Incubus, StillMarillion have proved once again why their popularity has grown year on year for the last fifteen years.
Every past and present member of StillMarillion has brought something unique to the band and Stuart Clyde is no exception. His celestially sublime arrangement for keyboard and voice of Fish’s A Gentleman’s Excuse Me is elegant, taking on new majesty in this more stripped back version. Complementing each other resplendently, Martin and Stuart enthral a captivated audience. The rest of the band return for a joyous and euphoric romp through the three singles (via Blue Angel) from Misplaced Childhood with Heart of Lothian, as it always does, bringing grins of delight from those who enthusiastically join in. StillMarillion round off the evening with the title track from Marillion’s second album, Fugazi. Challenging both musically and lyrically (surely one of Fish’s most wordy offerings), the track is still a cutting and brutal take on society from Marillion’s most barbed and incendiary album. While several songs from the Fugazi era have aired, there has been no overall theme to the evening, as mentioned by their vocalist during one of his interactions with the audience. While whole album nights are incredibly popular (as well they should be), it has been a fascinating performance, full of variety.
Two hours after taking the stage, the band wave their goodbyes and take their well-deserved applause. Entering their sixteenth year, they continue to pay tribute to both Marillion and Fish but such is the love for the band, their impressively accurate musicianship and their bond with their fans, they have become far more than just a tribute act and are treasured as a band in their own right.
StillMarillion setlist:
Market Square Heroes
Assassing
Punch and Judy
Script For A Jester’s Tear
Three Boats Down From The Candy
Warm Wet Circles
Blind Curve
Childhoods End?
Seasons End
Cinderella Search
Big Wedge
Cliché
Incubus
A Gentleman’s Excuse Me
Kayleigh
Lavender
Blue Angel
Heart of Lothian
Fugazi
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