BIG BIG TRAIN THE MARS VOLTA
When Big Big Train played a triumphant end-of-tour show at Hackney Empire in November 2019, all seemed set fair for their continuing rise, with dates scheduled for Europe and the US in 2020. But then came the pandemic and in a brief window between lockdowns they recorded 2021’s Top 40 album Common Ground,
and this year’s excellent Welcome To The Planet.
But the biggest calamity came in November 2021, with the tragic death of vocalist, co-lyricist and multi-instrumentalist David Longdon, an event that could have finished the group. Their decision to carry on was deemed by all concerned something that Longdon would have wanted. And so, with the recruitment of vocalist-guitarist-keys player Alberto Bravin, that resolution is vindicated by tonight’s emotionally charged and powerful full return to the stage.
In anticipation of the main event, the audience take support band Dim Gray to their hearts, and although the young Norwegian art-rockers look delighted but surprised by their standing ovation, it’s well earned. Their dramatic, melodic music has a stylistic overlap with fellow Scandinavians Sigur Rós and Mew. Keyboard player Oskar Holldorff’s sweet tenor soars over panoramic synths and rotating drum patterns on Avalon | The Tide, and although they play without the string section that features on their second album, Firmament, BBT’s new violinist-vocalist Claire Lindley embellishes the spangly guitars of Cannons.
When Big Big Train take the stage it initially feels disorienting and a little uncomfortable without Longdon. It can’t be easy for operatically trained, ex-PFM vocalist Bravin to step into the shoes of such a well-loved frontman, but he’s a characterful vocalist – and no like-for-like swap – who already inhabits the songs. And although he’s probably not as relaxed as he appears, he enjoys some witty back-and-forth with the Passengers, who give the group standing applause after most songs. There’s a tangible sense of relief and appreciation for BBT taking their first steps after the worst of times.
Only three of the musicians in this sevenpiece line-up – founder and bassist Gregory Spawton, drummer-vocalist Nick D’Virgilio, and guitarist, vocalist and keyboard player Rikard Sjöblom – remain from 2019. But the new members – Lindley and guitarist Dave Foster – seamlessly slip into their roles with Dim Gray’s Holldorff rising to the Olympian challenge of covering for absent keyboardist-vocalist Carly Bryant.
The set covers BBT’s full range from the melodic exuberance of
The First Rebreather – featuring five-part vocal arrangements and their flat-capped brass section
– to the epic Atlantic Cable. In the lengthy instrumental section they achieve a thrilling collective momentum, like Genesis’ The Cinema Show with fuel injection. Each musician expresses themselves without grandstanding, and Holldorff and Sjöblom engage in a flamboyant synth and funky Hammond duel on the lengthy, episodic A Mead Hall In Winter.
Unbelievably, this is only BBT’s 16th show since 2015; they play with the tightness and brio of seasoned old hands, mid-tour. As well as their signature prog pastoralia, they explore new territory: sections of D’Virgilio’s Bats In The Belfry sound like The Grimethorpe Colliery Band playing Zappa. They finish with the exultant instrumental Apollo – Longdon’s flute lines played on keyboards – and encore with
The Last Eleven, the first new song recorded
The Mars Volta were among the greatest prog/jazz rock groups of the 2000s, so this comeback show is heavily anticipated. Comprising mostly of classic compositions – as well as some tracks from their terrific new self-titled album – this impeccably performed and endearingly nostalgic evening makes for a triumphant return.
Given that The Mars Volta deviates from its predecessors by emphasising a simpler and more accessible sound, the band surely know that it’s divisive. That said, their decision to play only its singles Graveyard Love and Blacklight Shine is a bit odd. Fortunately, they’re two of the best cuts from it, as they highlight the group’s knack for elegantly hooky songwriting and inventively sophisticated – yet approachable – arrangements. Vocalist Cedric BixlerZavala dedicates the former tune to an old friend whom the ensemble
“miss and love,” which is a nice touch.
Tonight’s concert is as much a commemoration of their latest LP as it is their 20th anniversary, so they pull out numerous older gems too. In fact, roughly half the setlist consists of material from their 2003 debut, De-Loused In The Comatorium, with the hyperactive Roulette Dares (The Haunt Of) and the heartrending Eriatarka appearing early on. Shortly thereafter, the danceable Drunkship Of Lanterns and Cicatriz ESP show up, and the band even close the night with the album’s penultimate ballad (Televators) and opening duo (Son Et Lumière and Inertiatic ESP).
Some subsequent collections get attention too, such as 2006’s Amputechture (via Vicarious Atonement) and 2012’s Noctourniquet (via Empty Vessels Make The Loudest Sound).
They go over well, further exemplifying The Mars Volta’s perpetual innovation and variety, yet both are outdone by the three picks from 2005’s Frances
The Mute: The Widow, L’Via L’Viaquez, and mesmerising opener Cygnus… Vismund Cygnus.
Adding to their captivating sounds are equally enthralling sights, with an intricate array of lights shifting colour and movement to fit the vibe of each track. From the golds and pinks that encase Eriatarka to the deep reds of Roulette Dares (The Haunt Of) and L’Via L’Viaquez, it’s a lively presentation.
The lack of anything from 2008’s
The Bedlam In Goliath and 2009’s Octahedron is disappointing – especially since the band chose to spend a lot of time on abstract instrumental segues – but it’s difficult to complain when they play so much exceptional material. Beyond providing nearly two hours of fascinating music and visuals, The Mars Volta reward longtime fans with plenty of nostalgia. It’s a wonderful reminder of why The Mars Volta have always been extraordinary.