LIVE AT THE WALLS

'Live at the Walls' is a live album by Marillion. It was recorded in a small restaurant in Oswestry on 25 and 26 June 1998 as an acoustic set. The band debuted two songs from their upcoming album at the time, 'Radiation.' Those songs would be "Now She'll Never Know" and "The Answering Machine." There are also three live covers included on 'Live at the Walls.' They covered "Fake Plastic Trees" by Radiohead, "Blackbird" by The Beatles, and "Abraham, Martin and John" by Dick Holler.

After the performance for "Runaway" ends, Steve Hogarth talks to the audience. He claims that prior to the gig, Marillion made a deal with the restaurant. The band would be able to get a free meal and some beers in exchange for a live performance that the locals would be able to see. Once this information got out, Marillion fans from all around the world found their way to the small town of Oswestry to hear the band perform. The response was so great that the band thought to tape the show.

One major aspect of 'Live at the Walls' that I love is the inclusion of obscure Marillion tracks that are rarely performed live. Most people's favorite Marillion tracks are ones that are climactic and powerful, as that's what the band excel at. This live album features subdued and intimate songs that don't get as much recognition, which I think is a reason in of itself to purchase this live album. The songs in question are "Beyond You," "Afraid of Sunrise," "Now She'll Never Know," "The Answering Machine," and "Eighty Days." I particularly loved hearing "Now She'll Never Know," which, in my opinion, is one of the most underrated Marillion songs. Steve Hogarth's extremely intimate vocals are what makes this song truly special. I wouldn't normally associate "Now She'll Never Know" as sounding similar to Radiohead's "Fake Plastic Trees" except for the fact that they're both performed on this album.

The acoustic arrangements of "Alone Again in the Lap of Luxury," "The Space," and "Hooks in You" are quite different from how they're usually performed. All three songs are played in a ragtime style. I was surprised to see "King" in the setlist, as that is the heaviest Marillion song, in my opinion. "King" must be played loud and has no place in an acoustic set. Nevertheless, Mark Kelly's Hammond organ elevates this live performance.

After hearing Marillion's cover of "Abraham, Martin and John," I knew that that song was probably what inspired the band to write "Born to Run," which is on 'Radiation.' Steve Rothery's guitar soloing is soulful and imbued with emotion.

Marillion end the concert with the song "Eight Days" from 'This Strange Engine.' I like the choice they made of making this the final song as it's a song dedicated to their incredible fans.

In conclusion, 'Live at the Walls' is a great unplugged live album that I would recommend to fans of this period of Marillion's history. It's refreshing to listen to an album such as 'Live at the Walls' that stands out among the band's seemingly endless discography, let alone live discography. Acoustic sets may not be for everyone, but it provides an interesting contrast to what Marillion fans are used to hearing through songs that are heavily transformed from the original versions.