An Evening with Big Big Train – RNCM Theatre, Manchester: Live Review

By Mike Ainscoe on 15th October 2026 • ( Leave a comment )

An Evening with Big Big Train – RNCM Theatre, Manchester – 13th October 2026

DIGGING DEEP

Never a band to make an easy decision, reserving the whole of the latest album for second half some might initially question. The thought that they’d first come on, deliver Woodcut, get the ovation and then return for a second half of what Prog Rock fans might laughingly call ‘hits’ (let’s stick to ‘fan favourites’) is one that many might have called. In hindsight, saving what might become (or already is) their meisterwerk for a grand encore is a good call.

The setup and staging has also taken some thought. Oskar Holldorff is now parked stage right opposite the stage left drum kit, both facing inwards. Between them, the stage is less cluttered. Just Rikard Sjöblom and Alberto Bravin fill the space, no longer dominated by a collection of various keyboard instruments around which to remain nimble footed .It allows them the chance to indulge in some furious Sabbath-inspired shared riffing and shape throwing when one guitar just isn’t enough.

On the rear riser, Gregory Spawton takes up his usual overseer’s spot, joined by Clare Lindley and local-ish (Bury just a tram ride away) brass section in miniature Paul Mitchell. All three take a step into the front lines at various stages during the evening, and everyone – EVERYONE – sings; all taking a lead at some point while at others some of the harmony parts are astounding.

INTO FOLKLORE

The opening pair from Folklore confirm the ambition to explore some dustier corners of the catalogue. Having crossed paths with the Salisbury Giant, parts of London Plane give the first indications that the Big Big instrumental Train is well stoked and on fire. The prowess and interaction is exemplary, but something that the 600 or so in the room are fully aware, as the band set off on a run of ten minute exercises with lighter touches via the musical box swing that Lost Rivers Of London provides.

Swan Hunter is particularly poignant and nostalgic. How many people in the theatre might have had a David Longdon moment during this song and the “call me up boy, sit you down by the fireside” lines. Not for the first time in the evening, the first set sees double takes to check that what seems like a lead guitar is actually coming from the Lindley fiddle while Drumpet sees a short and interesting take on the drums and brass showcase.

GRAND FINALE

The inclusion of Kingmaker brings a healthy historical slant to the set. Stuff that the Big Big Train legend is made of. The Genesis influence worn proudly on the Spawton sleeve gets a reading that gives what Alberto calls “an old song” a 2026 polish. Also a reminder that even in the absence of the likes of Hedgerow, Curator Of Butterflies, Beneath The Mast et al, there are still many treasure in the BBT trove.

East Coast Racer is the truly grand – almost compulsory – finale of the set and the closest to the surface of the selection of deep cuts. Probaly not deep at all to be fair. It’s an expected but always welcome. Not yet the millstone that earns a ‘satirway tag. Oskar Holldorff ‘s intro does the same job as the piano intro part to Tull’s Locomotive Breath; instantly recognisable and eliciting a ripple of applause as the audience settle for a fifteen minute ride. The arrival of the “into history, into legend” is as iconic a moment both musically and visually as you’ll get from BBT. A moment that indeed has given them their own moment in history (and legend).

A wise decision to begin with (some of) their other stories. Hindsight will remind us that following Woodcut would be a rather tricky undertaking.

WOODCUT

The Walbum has been out ten months so has allowed for plenty of time for the Passengers to read, learn and inwardly digest. Prepare themselves for their favourite parts and possibly even identify the points at when to clap and applaud – not easy when the sequence is meant for a sit down for a l-o-n-g listen – an experience even. One certainty is that after sitting in rapt attention and absorbing the live Woodcut experience, the need to stand and deliver an ovation is going to be a nailed on cert. A deserved one though, as we shall soon see as…

…the band reappear in the shadows kitted out in black. The back projection screen comes into full use, casting images of woodcuts and footage which has accompanied promo videos. Several bursts of backlight swirl into in the the tiered seats and the occasional full wash interrupts what is a understated, but sensitive, visual presentation. Shadows and silhouettes, the music is the star. And the double neck guitars are out in force for a piece of music made to be appreciated in a full top to tail run through.

As we have done already in our big big bits feature on the album, we’re awaiting some key moments, yet like Shrek’s onions, there are layers and maybe even new nuances which are highlighted by the sweeping and swooping live performance. The opening passage of The Artist established that we’re in for a rock show. Lashings of organ, angular guitar parts and NDV flying around the kit add a meaty muscularity.

DARK SOLEMNITY

Clare’s Sharpest Blade underlines some of the darker solemnity, matched as Albion Press has Rikard wah-wah-ing before the tracks veers off on a sweetly melodic branchline as the “pictures in my mind” takes us from monochrome to colour. Warp And Weft’s multi-part vocals which are nailed.Five singers all mastering their parts and then into an equally intricate widdly-widdly synth line, worthy of a Wakeman.

Oskar’s lead vocal in Chimerea remains our go-to moment of Woodcut. Hefty progness, delicious melodies, lead violin or synth and acoustic guitars (Rikard on twelve string is hugely pleasing) all come and go. And for an instrumental tour de force, Cut And Run, all funked up and fusing remote wires, satisfies those who ached for the absence of Apollo. Many have picked Counting Stars as the highpoint, but the real climax, and I’d put up a fight for it, is Last Stand. The middle section that starts with “fighters fall and fade away” gives goosebumps to the goosebumps from Chimerea.

The natural progression from conception to stage comes full circle.The morning after the night before has many Passengers on the BBT online Forum already declaring tonight’s show one as the best of the tour. London is to come, and due to be filmed, so has a benchmark to follow. Can you see Big Big Train sweeping the board when it comes to annual awards in the Prog journals? Best of the Prog Rock year in both album and live show. The Woodcut tour – ‘Event of the year’? It just leaves the Passengers to leave with the best of Rikards’ Woodcut guitar solos to debate.