Marillion Hammersmith Apollo, London October 1st, 2026 -Live Review
Review - Matt Wisdom, Photos Daniella Pagliuca
It's become a rarity for me nowadays to attend gigs at the fabled Hammersmith Odeon (as most of us still refer to it). It was taken over by one musical after another for many years, with the landscape seemingly only levelling (to a degree), recently. Once a fortress for classic rock, I do hope the Odeon increases it's roster in that area. I first saw the Hogarth era Marillion here on the "Seasons End" tour, and when I enter the auditorium I'm sitting in more or less the same seat as I did then. It's great to see that the owners here are keeping the venue in fine fettle, with regular re-paints and a few tickles of titivation.
Marillion are never ones to pander to convention, and the lengthy opener "Gaza" (from the "Sounds That Can't Be Made" album) is ample proof of that. Over the next few songs, things are levelled out in that respect, with "Seasons End", "Hotel Hobbies" and "Sugar Mice" more or less running into one another. Even after all these years, I still find it very interesting to hear Steve Hogarth singing the Fish era songs. Four "suites" from "An Hour Before It's Dark" come next, namely "Care". Whilst not even at the halfway mark, it's very striking to see how much variety and versatility Marillion have in their cannon.
The arrival of "The Space..." also heralds the arrival of "Flowing Chords", a choir from Italy. When you hear the music pitched with them, it makes you think even more how much of a classical bent Marillion have in some of their output. To my mind "Easter" and "Lucky Man" work very well within this framework. The ethereal playing of Steve Rothery weaves so well with this. Steve has been at the forefront of Rock Guitarists for such a long time now. A player who knows exactly "when", with an incredible touch and a grasp of melody. One would imagine this can't be taught.
I'd venture that Pete Trewavas and Ian Mosley are amongst the most underrated rhythm sections in music. I say that regardless of the many plaudits that they've received. Mark Kelly makes playing Keyboards look as easy as I'd make a cup of Tea, with glorious flurries abounding, left, right and centre. I can't even flurry making a cup of Tea either.....
The main set closes with "Wave", "Mad", and "The Great Escape" (all from 1994's classic "Brave" album). Reflecting somewhat on the set at this point, it's so clear that Marillion are one of the masters of reinvention. Not an easy thing to do within the Prog/Neu Prog genre. Encores of "The Release" (From the "Seasons End" sessions) and "Man Of A Thousand Faces" (From "This Strange Engine") are a perfect fit to close the show out. In an ever changing planet, it's a relief to know that Marillion are going to.....keep on changing.
