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Rating: Two evenings over two days might be a bit stressful, a little too much... But knowing that the protagonists are Marillion and their touching music makes it worth considering. And indeed, I made the full choice precisely knowing that Marillion, causing chills in the studio, would do even "worse" live; and 57 euros cannot be considered excessive for so much. And it wasn't madness to choose to go to both evenings alone, not having found someone to accompany me...
To my surprise, I found myself among an audience mostly composed of people aged 40-45-50. I didn't expect this because I am perfectly aware of the phenomenon that occurred after the historic frontman Fish's farewell, meaning that many of those fans no longer followed the band or did not appreciate much (and I will continue not to understand why) the Hogarth era, despite its stronger emotional potential. I thought that Hogarth's Marillion were in the hands of a decidedly younger and "alternative" audience, but I was proven wrong by the presence of all those nostalgics. Unfortunately, I didn't strike up a conversation with anyone, partly due to my well-known shyness. But let's talk about the two evenings.
According to the presentation offered by ticketone, they were supposed to be two evenings with a completely different atmosphere from each other, but instead, the two evenings turned out to be almost similar. The choice to propose as many as 6 pieces in both evenings (5 of which from the latest album) appeared definitely questionable, but putting this aside, it can be said that both acts fished rather well from their repertoire. From the latest album "Sounds That Can't Be Made," 5 out of 8 tracks were chosen and, as said, were performed in both evenings. On both occasions, it opened with "Gaza," with Hogarth wearing a white coat with the peace symbol and ending the song with a speech on the Gaza Strip conflict. To encourage us, they distributed kefiahs to everyone, each of a different color; unfortunately, I got one with the colors of Inter. "Sounds That Can't Be Made" also fared well, as its pompous keyboards could only sound powerful and "welcoming" live. The album's emotions were confirmed with "Pour My Love" and especially with "The Sky Above The Rain," which truly opened my heart even if I don't quite agree with the choice to lower the key in the last part. "Power" had a somewhat lesser impact. Then on the second night, someone loudly requested "Montreal," but Hogarth said it was reserved for special occasions to come... They nearly played the first 30 seconds, receiving a "better than nothing!" from a fan. Moving on to the other songs on the setlist, the first night we find a thundering "Ocean Cloud" from the masterpiece "Marbles," almost systematically placed right after "Gaza." Two 17-minute songs one after another for 34 minutes of chills. "Neverland" was present in both evenings and was used as a closure on the second evening, a great choice for many attendees. From the other masterpiece "Brave," they chose "The Great Escape." But the audience still needed some more excitement... So the probably best-suited song to unite and energize the audience at concerts (so much so that it's offered quite consistently by the band live) was included: it's obviously "Man Of A Thousand Faces" (from "This Strange Engine") which the whole audience, already warmed up seeing Rothery wielding the twelve-string acoustic, sang at the top of their lungs, encouraged by the captivating Hogarth especially in its rich choral finale.
But the main courses were yet to come... In fact, here's something from the Fish era: the duo "Warm Wet Circles"/"That Time Of The Night," from "Clutching At Straws," really turns the audience into a choir... As if all this weren't enough, here's the classic "Easter" from "Seasons End" (which saw Hogarth's debut), perhaps unexpected (given the setlists of the previous evenings) but appreciated precisely because it was unexpected... Classics are always warmly received. The first night closed with "Three Minute Boy" from the controversial "Radiation." A song that took me a long time to appreciate but now I love it, and it made a great impression live, especially in the final choruses.
The second evening presented many more songs from "Marbles," an album that apparently, as well as being in the fans' hearts, has also entered those of the band since they always choose many songs from it. "You're Gone," with its sunny melody, was used almost as a "charge" to excite the audience, "Fantastic Place" being naturally more intimate; "The Invisible Man," preceding the encore, saw a more theatrical Hogarth than ever appear on stage dressed as an old man with glasses and a cane, showing an unexpected comedic side. There was also room for two songs from "Afraid Of Sunlight": I reached the height of my chills when "Beautiful" was performed - but I imagine that the entire audience shared my sentiments - where Hogarth was still very theatrical and expressive and Rothery could show off with the double-necked guitar; then there was "King" where Hogarth happily played with his guitar. There was also room for "Somewhere Else" from the eponymous album, which despite coming from what I believe is their least inspired album, still fit. Excellent impact for "This Strange Engine," also bearing the name of the album it is from, where Hogarth flaunted his very special electronic instrument.
In conclusion, I can honestly say that it was worth it. What does it matter if you are alone and have to return alone and do so for two consecutive nights... if you then spend two such intense evenings? Nothing! I watched musicians perform who were not very showy, more intimate and reserved perhaps, but capable of moving. However, the surprise for me was frontman Steve Hogarth. I thought he would present himself as quite calm and reserved as well, but instead, he showed an unexpected theatricality: he moved on stage guided by the music, laid down on the ground and then got back up, put on and took off his jacket depending on the moments ("clothes are important in Milan!" he even exclaimed), leaned with great class on his percussion stand, and knew how to captivate the audience like a true frontman. It's a pity that the other musicians are more "anonymous," but isn't this frontman a worthy substitute for Fish, especially considering that his voice is decidedly more moving? How can one think otherwise? Anyone who doesn't believe in him and these Marillion needs to reconsider! I am sorry that this band no longer achieves the success it once did, that it has ended up playing in such small venues, suppressed by the many substandard musical realities with which they try to brainwash us every day... But substandard and essence-less music knows it will never have me, and I will always feel proud not to represent today's youth's pseudo-musical culture and to be a young person among many "old-school" enthusiasts who believe in true and sincere music!
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