Marillion – Philharmonic Hall, Liverpool – 27th September 2026

BACK IN THE U.K.

A few days on from a recce at the Marillion gig at York Barbican, we’re at the Philharmonic Hall in Liverpool, a couple of days ahead of the tour finale in London. Two gigs which will see the band again join forces with the Flowing Chords choir for an end of tour extravaganza that will polish off the 2026 UK run of dates.

And with an informal contest running on the social media to rate the shows and in particular the audience (no pressure…), yet with ever so slightly competitive edge, Liverpool is ready. As it ever was/is/shall be, for a Marillion adventure.

As Steve Hogarth – ‘h’ to friends and writers who wish to cut down on typing a full name – explains, we’re in a town that has more than a fair share of Marillion connections, Marillion has played, written, recorded, mixed and had Bacchanalian orgies (allegedly) in Liverpool. “I could tell you some stories about Liverpool,” he quips. It’s also a regular stop off for the ‘h natural’ shows when Hogarth goes solo. And not least of all, when there are fixings to be done with the bass gear mid show, what else can a poor boy do but lead everyone in an impromptu All You Need Is Love Not averse to knocking out a Beatles number in Liverpool, it wouldn’t have been out of place to strike up In My Liverpool Home.

LOVE IS ALL YOU NEED

The stage is again set with the vertical tube lighting that instead of providing a fencing in of Pete Trewavas and his bass rig, is more conducive to viewing with a n even spread. Dripping lights at various points, they add and extra visual polish to the usual battery of colorful and evocative lighting effects courtesy of the usual audio visual craftsmen at the sound desk.

All is in immediate effect as searchlights accompany the band;’e entrance for Gaza that sees h occupying a small seating block at the front of stage left to deliver the opening lines a la the Sounds tour of 20212. Not the only time he’ll be up close and personal as he regularly strides along the front of the stage almost on the laps of the front row club at one stage. He’s in good voice. Very good voice. Remarkably so for a man of seventy. With Jon Anderson currently singing classic Yes at 82 as well as he’s ever done, there’s no reason we can’t have another dozen years of Marillion (despite a recent ‘six more years’ claim reported to come from Rothers).

As Gaza closes and the first standing ovation sets the tone, we note h is in coat shifting, sparkly shirt and outrageous shoes mode, and much more sober/serious – less giddy and random – than we witnessed in York. Tongue in cheekily, he even apologizes at the close of the set if he might have offended anyone – something that began way back at the start of the tour with a fan in Brighton…and Built In Bastard Radar.

SETLIST BINGO

With no new album (yet – it’s getting closer…) the set comes described as “a set of disparate things.” It allows for a cherry pick from a basket brimming with riches. The tour has seen some element of setlist juggling, where the song selection and the order has rewarded those fans who like to take in multiple dates. Out Of This World, The Space and Lucky Man have been what you might class as ‘rarities’ while there has also been a tweak to the marillion.com selection(s). The latter an album which has been featured in this touring set. Back in York, Hogarth talked of how the band sat in a circle, “took some drugs and decided it was pretty good.” Perhaps not a major player in the grand scheme, but a personal favourite so no complaints here.

Tonight, there’s no Bastard Radar and Enlightened from .com. Instead we get Go! (again, no complaints) and Fantastic Place gets a slot third song in, making for a little Marbles duo with You’re Gone. Just the nine albums providing the ‘source material’ tonight.

With writing and recording for a new album in the (hopefully) latter stages, one new song is deemed in good enough shape to give an indication of what’s to come. Ribbons And Lace might provide an apt bridge between the pandemic flavours of 2022’s An Hour Before It’s Dark with it’s opening that talks of coming out of lockdown and reminiscing over the passing of time. Something about loss of teeth and scantily clad Norwegian girls. A change from the usual songs about death and water. It begins with a vibe that whiffs of nostalgia and allows the rare sight of Rothery with a Les Paul shaped guitar. Short-ish but definitely sweet, a tasty teaser to the new music..

THE BIGGIE

However, the most recent in an ongoing series of Marillion classics, Care, is proving to be the biggie in the set. One of those songs that hits the sweet spot in sentiment and by way of the Rothery knack of saying more in a few well chosen notes than a cluster of shredding, it earns a prolonged ovation and allows h to take time to change into his Crow/Nightingale coat for the next in the AHBID section.

The set is packed with gorgeous Rothery solos – possibly providing many of the higlihgts. One fan can’t help but shout out his appreciation to the most humble of guitar gods. One who has only recently taken to stepping forward on the odd occasion to deliver his solos. Hotel Hobbies (where the instrumental might of the main quartet including mark Kelly and Ian Mosley deliver power and precision before segueing into Afraid Of Sunlight) , Season’s End, The Crow And The Nightingale, The Great Escape all include emotive guitar passages, yet the finest and cream of the crop must surely be in Easter. A piece of music where his solo nudges even Dave Gilmour and Comfortably Numb into the shadows. Tonight, as ever, it feels like he absolutely nails it completely.

“GET UP!”

The Brave sequence at the end of the main set earns another ovation and has Liverpool on it’s collective feet and they’re encouraged to get up and stay up. Encore time is what it should be. A celebration and The Release is an inspired choice. It might have some cheesy lyrics about flakes in the bowl but then Phil Collins had to sing about nylon sheets and blankets and bread bins in some Genesis songs. Regardless, it does what it says on the tine with the bubbling keyboard line and bottleneck and power chords driving the song.

It sees the whole band energised and beaming – cue the call for more standing gigs – or as as the upcoming London shows, a chance to stand in the stalls or sit in the balconies. Pete is on walkabout and the fourth wall is in danger of crashing down. Not only that, but the anticipated Sugar Mice (singalong and iconic Rothery solo) gets parked and we’re treated to man Of A Thousand Faces that builds to an explosive climax. It could be in the euphoric glow of being at the show, but the word on the street is that this was a special night. Who’s to argue and at the end of the day, who needs f(F)lowing c(C)hords?

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