A FLARE ON THE LENS (LIVE IN LONDON)

I adore Big Big Train, but there are a few times that Alberto's voice just gets a little "shouty". Some may like it, but it makes several of the older songs trigger my misophonia, and I just have to request to the band that they leave them out of future setlists entirely. "The Connection Plan" and "A Boy in Darkness", to be specific.

That having been said, this is a great recording. The band is truly comfortable at Cadogan, and it shows. Fantastic sound mixing from Rob Aubrey, fantastic lighting by Yenz Nyholm, and the band is in fine form, with two guitarists, and the full brass section. (both of which the band seem no longer able to afford)

A Flare On The Lens' features the band's full show at Cadogan Hall from the second of their two nights there last year and also includes seven songs which were played only on the first night, which means we have eighteen songs and a total running time of more than 160 minutes (note, this has been cut back on the double vinyl release). From some comments and fades it is obvious this is not a complete set run through as such, something I always like my live albums to be like, but the performances from all those involved are so sumptuous I am prepared to overlook it.

The line-up for these shows was Alberto Bravin (lead vocals, guitars, keyboards), Nick D'Virgilio (drums & percussion, vocals), Rikard Sjöblom (guitars, keyboards, vocals), Greg Spawton (bass, bass pedals), Oskar Holldorff (keyboards, vocals), and Clare Lindley (violin, vocals) along with Maria Barbieri (guitars) and The Big Big Train Brass Ensemble which takes me back to the days when prog bands toured with orchestras so all power to BBT for doing this in the current commercial environment. By now Bravin had taken command of the vocals and it is nice to hear him following his own path through the older material and not attempting to be a David Longdon clone. Mind you, when I say older material, I mean songs from albums as long ago as 'The Underfall Yard' and 'English Electric' ? the former is the older of the two, coming out in 2009, by which time BBT had already released six albums and had two other lead singers. It clearly demonstrates just how much the band has changed since then as the contrast between those early albums and what they produced with Longdon on board is stark as Greg used the opportunity to totally rebuild the band by bringing in the likes of Nick D'Virgilio and Dave Gregory.

This is a progressive rock band who should be selling out arenas and not just large halls, as they are performing massively complex and layered progressive rock which is accessible and majestic in so many ways. Everyone knows their place in the arrangement and ensures they are not overplaying while also demonstrating their skills and providing wonderful harmony vocals yet somehow allowing plenty of room for Bravin to always be the focal point. When I started reviewing the Poole boys a million years ago at the time of their first demo tape, I never imagined they would reach the heights they are achieving today, and I am sure Greg feels the same way. BBT are now one of the top progressive bands around, and this album clearly captures that. If you have a favourite BBT track then it is probably here, from "Folklore" to "Swan Hunter" or "Brooklands", and is an absolutely essential release.

BIG BIG TRAIN REVITALISED

I enjoyed this live-album immensely and believe it's a triumph for all concerned. As I started watching the blu-ray, I initially had some misgivings, as the venue where it all was filmed (London's Cadogan Hall) took me back to my own less-than-happy live experience with the band (described in my review of the 2018 album MERCHANTS OF LIGHT). I was soon won over, though, by the charisma of lead singer Alberto Bravin, who looks like a happier and far more relaxed live performer than David Longdon. Of course Longdon's crucial role in Big Big Train cannot be overstated, but I always found him rather scary to watch. Bravin immediately wins the audience over. Even though he gets a little shouty at times, his singing is heartfelt and soars at the right moments. His diction tends to be somewhat unclear - but never to the extent that it diminishes the music.

Big Big Train here perform a mixture of classics old and new - if I may venture to say so - and everybody's commitment is clearly visible. That includes new star violinist Clare Lindley and keyboardist Oskar Holldorf; the latter is far more fun to watch than earlier BBT keyboard players, who tended to merge with the wallpaper. I was especially impressed with the virtuoso guitar playing of Maria Barbieri, who joined BBT only for this particular tour. How she managed to learn all those intricate parts I don't know, but she performs her solos with great gusto. To my regret, she's rather unflatteringly tucked away toward the back of the stage, but she gets quite a few chances to shine, and - much to my delight - on the album's inner sleeve it's her photograph that's included behind the first disc, not Rikard Sjöblom's, who's left out altogether. (Sjöblom's a totally delightful figure on stage, though, doing some truly exciting things on guitar and keys, and also featuring as backing vocalist.) The one band member who probably gets the most camera time - perhaps a little too much - is master drummer Nick D'Virgilio. I personally would have enjoyed seeing far more of Gregory Spawton's bass playing.

On the accompanying live CDs, the sound is crystal-clear, but I'm unsure how often I'll be returning to them - it's just too much fun to hear AND watch this band. As of January 2025, when I'm writing these words, BBT are preparing to go on tour with only one electric guitarist (Sjöblom) - does that mean their current live performances are more straightforward and less sophisticated?