Live Review : Marillion + Harry Pane @ Bridgewater Hall, Manchester on November 4th 2019

Support tonight is from Harry Pane, a youngish singer/ songwriter firmly in the folk tradition, less ginger than Ed and a tad less cheesy.  There’s a decent variety to his lyrics and an authentic connection that translates in his delivery pretty well. Of particular note was the third song in, he introduced as a tribute to his father who passed in 2016, 'Fletcher Bay' rang true and was the strongest contender for deeper ground within his set.

His acoustic finger picking style supported by simple double bass lines from Nathan Weeney (an oversized guy – if you can be oversized on double bass?).  The accenting bass drum accompaniment was just enough.  He sings about his hometown 'where nothing ever happens' and you can imagine the bedroom being both a solace and the place he learned his craft.  His songs have a personal connection and in-between songs he seemed humble and genuinely happy to be where he was tonight.  Don’t get me wrong, the Marillion audience are only here for some more of what they live for but they do give him a decent amount of respect. ’Here We Stay’ is as close as he gets to a love song and has a good melody.  There’s a bluesy touch to his last track 'Mama' and he played some pretty good bottleneck to round out his set.

It's an odd crowd, a Marillion gig, you have the 50+ white haired white guys whose rock hair departed some 30 years previous, the mullets, the science geeks grown up and a smattering of couples that live and breathe Marillion air.  T-shirted up to the max.  They really must be some of the most loyal fans in rock music and that doesn’t require qualification. 18 albums in and still as uncool as fuck. They do not appear to draw any kids at all, a true aging demographic but one that survived the departure of an iconic lead singer and follow the new piper of older-age Pan to new and distant lands.

So, what to expect from tonight? As the dry smoke pumps out and the small orchestral players take the centre stage Bowie's Heroes gets the crowd pumped and prepared for this strange odyssey.

It’s actually a great venue for this orchestrated Marillion.  Steve Hogarth theatrically drops back on the stage from the off, one part Gary Numan look-a-likey, one part throwing rock shapes and I don’t really get it – some heavy prog riffs being dropped in ‘Gaza’ bright strobe lighting and pulsating throb immediately stripped back to haunted keyboard falsetto, it’s 10 songs in one but unfortunately it's like bad theatre. Can't make up its mind.  When the lightshow kicks in proper and the back screen projects a headied Floydesque psych vibe, I am almost convinced they are onto something.  Forget my words though, the hardened fans love it though all 20mins, ‘Gaza’ is done.

There’s some humour 'I wonder if that's in tune?' krang..'that's enough', talk about the venue being Posh (the beautiful Bridgewater Hall) ' but you are not posh are you?...'

‘Afraid of Sunlight’ provides some more mainstream rock fare, it builds and builds and is a firm favourite of those present tonight. ‘Seasons End’ from ‘89 gets the biggest cheer of the night and delivers something that the fans lap up.  There’s a long spoken intro to the recent single ‘Estonia’ about a random meeting on a plane flight from Sweden that is actually quite moving.  An extended symphonic middle eight was a great addition and nearing 8 minutes was as straight a song as Marillion deliver tonight.

‘The New Kings’ delivers a touch of Museness, a sideswipe at the political elite and the crowd really takes flight on this one.  As the chords to ‘Great Escape’ ring out, Marillion benefit from the audience connection as they sing out and the band deliver power ballad rock drama, the disco ball sends light specks around the Bridgewater hall and they are done closing the set.

The first Encore is ‘Separated Out’ from “Anoraknophobia”, they pinch for a sexy string infused interlude ‘Kashmir’ from Led Zeppelin and it’s an inspired moment and a great use of the Orchestra.

From here on in Marillion can do no wrong. ‘Man of a Thousand Faces’ is a singalong masterclass. Steve Hogarth coming into his stride, more energetic than the previous songs put together.  Sliding basslines lead to keyboard riffs and the Marillion prog rock majesty of ‘This Strange Engine‘ to close out the show. 

I am still not a fan but they are a band who don’t seem to need a new fan.

Words by Ian Davis