Bob Keeley
The expense for European bands to travel to the US is quite high. This has resulted in Big Big Train taking an extended period of time, including one delay due to COVID, to finally assemble a plan that suits them, enabling their reduced live team to perform a mere five shows in the US before embarking on the Cruise for the Edge. I therefore considered myself lucky to be within a 170 mile (274 km) radius of their debut show from my home in Michigan. I quickly purchased tickets as soon as they were released and secured one of roughly 40 “premium” tickets that assured a seat in the first two rows. I landed a spot in the second row center, an excellent location for my first Big Big Train concert.
Sweetwater stands as one of the most significant, if not the most significant, musical instrument and equipment stores in the US. It not only has a vast online profile, but also a breathtaking physical showroom. The store is equipped with a recording studio and a top-notch theater where the concert took place. Nick D’Virgilio, the drummer, also doubles as a member of Sweetwater’s team when not in recording sessions or touring. It was only logical to use Sweetwater’s facilities to launch their brief US tour. The venue remains one of the finest I’ve ever visited to watch and listen to a concert. The sound quality was exceptionally clear, and no audience member was seated more than 12 rows away from the stage.
To be able to conduct this tour, the band had to tweak their arrangement due to financial constraints. This meant no brass section was possible, and guitarist Dave Foster opted to stay back, so a local trumpet player/multi-instrumentalist could join instead. While waiting outside the theatre prior to the show, conversation revolved around whether we had listened to their latest album, released earlier that day (many of us in line had, some multiple times), and what they might perform. Most of us speculated they would be playing a lot of their new music. However, what we ended up witnessing was an expansive setlist that covered their discography from The Underfall Yard and beyond, showcasing nearly every album.
The show began with “Folklore”, and instantly, lead vocalist Alberto Bravin dominated the stage. He was a constant dynamo throughout the night. His natural ability to assume the role of the band’s frontman was evident, his execution of vocal tasks superb, and he was respectful of David Longdon’s previous work, whilst also introducing his own take on the songs. Over the years, I’ve listened to the band and seen their videos, developing an admiration for Big Big Train as an excellent group. However, what I had overlooked was the incredible skill each band member contributes to the ensemble.
D’Virgilio, positioned on the left side of the stage, facing his bandmates, executed elaborate drum sequences effortlessly. A major highlight was the great view of him in action as well as the distinct, clear sound of every drum beat. His performance was a display of masterful skill. Apart from playing the drums, D’Virgilio did quite a bit of singing; he took center stage to perform a duet with Bravin on “The Florentine” and collaborated with Rikard Sjöblom, a guitarist and keyboard player, for a rendition of “Telling the Bees”, paying tribute to the late David Longdon. D’Virgilio’s guitar and Sjöblom’s keyboard, being the sole instruments on stage for the tribute, provided a refreshing contrast to the full-band performance throughout the evening. The execution was top-notch and memorable.
Choosing a star player from this group is challenging, however, Sjöblom made a strong case, successfully covering not just his own guitar parts, but also many that would normally be handled by the missing David Foster. He received support – nearly every other band member played a guitar or a keyboard at numerous points during the night to amplify the sound, ensuring no crucial voice went missing. Sjöblom’s lead performance was consistently excellent. In “A Mead Hall in Winter,” his work was particularly standout, constituting one of the evening’s highlights. Observing him play the guitar before transitioning to a demanding keyboard section, often single-handedly, was an incredible spectacle.
Throughout the night, Clair Lindley subtly yet significantly contributed to the band’s performance with her accurate backing vocals and violin playing which was integral to the band’s sound. Additionally, she seamlessly transitioned between keys and guitar as required. There were several instances when her violin harmoniously combined with the trumpet yielding enthralling results. One outstanding moment was when Lindley, Brevin and Sköblom, each on electric guitar, performed a rapid three-part movement which was truly spectacular. The instrumental piece “Apollo”, that concluded the major set, provided her and the other musicians an opportunity to display their skills.
Oskar Holdorff did a remarkable job managing many crucial instrumental and vocal parts while on a riser at the back of the stage with his keyboards. His work on pieces like “Victorian Brickwork,” and “East Coast Racer,” including a new song for the night, “Love is the Light,” was particularly commendable. “Love is the Light” was performed so exquisitely that I had the urge to request them to repeat it right away. The song, coupled with Holdorff’s playing and Brevin’s vocals, was astounding.
Bassist Greg Spawton is positioned at the back, subtly handling the lower tones of the sound using his Rickenbacker bass and his Moog bass pedals, making a significant impact in the theater. He had few moments to stand out, like the jam session during “Mead Hall,” and he also played a twelve-string guitar for parts of some songs. Spawton in many respects is the force driving Big Big Train, the one maintaining the band’s past and present. His tranquil demeanor on stage often makes us overlook that he is such a crucial figure.
The lineup contained fewer new songs than expected by many, but in retrospect, it was an excellent approach for them to make their debut on this part of the Atlantic thanks to a setlist spanning their entire career. Regardless, everyone I conversed with before and after the show didn’t need an introduction. Nevertheless, having the chance to listen to a vast number of their iconic songs in one evening was remarkable.
The audience exited the theater, filled with excitement and gratitude for finally having the opportunity to see and listen to this fantastic band live. What made it even more special was that most of them made an effort to meet us in the entrance hall afterwards, take photos and talk.
Big Big Train is an extraordinary band to see live, and I eagerly await their return. The three-hour journey was absolutely worthwhile.
Setlist
Folklore
The Connection Plan
The First Rebreather
The Florentine
Summoned by Bells
A Winter Mead Hall
Telling the Bees
East Coast Racer
A Male Child in Obscurity
Affection is the Illumination
Apollo
Victorian Brickwork
