Komedia, Bath
Sunday, 27 September 2026
Big Big Train have been rolling down the tracks as a live outfit since their remarkable 2015 Kings Place gigs, followed passionately by their ‘Passenger’ fans. In 2026 Big Big Train have been carving out new ground with the release of their impressive concept album Woodcut, and announced that they would play the whole album on tour. Just how would that go?
The first part of the show was focused on Other Stories featuring three songs from the era of their 2016 standout album Folklore. Salisbury Giant is a solid icebreaker, but it is with London Plane where they start to blossom with lovely harmony vocals and Paul Mitchell’s plaintive trumpet. Oscar Holldorff injects a nifty organ passage alongside Nick D’Virgilio’s classy drums. This is also the first song in which we witness the incredible instrumental adaptability of this talented band as Mitchell plays additional keyboards and Alberto Bravin straps on an electric guitar. The elegiac Swan Hunter is adorned by Mitchell’s mournful brass, augmented by Clare Lindley’s melancholic violin. A sweet a cappella section in which the whole band contributes also showcases their great vocal dexterity.
Big Big Train delve far back into their history for the venerable and rather early Genesis-like Kingmaker, introduced with ‘sounds from far away’ as the birds and the sea echo around the quaint venue of the Komedia. Mitchell plays a lovely trumpet solo followed by Bravin leading on the electric guitar… and then he later moves to additional keys – what a talent! Kingmaker’s narrative style underlines Big Big Train’s great skill as story tellers. The ‘deeper cut’ of Lost Rivers of London features a suitably languid guitar and flowing keys which then morphs into a more medieval troubadour sounding section with Mitchell on recorder. It is amazing that this song was effectively a ‘B-Side’ on the Wassail EP as it demonstrates their talent in writing memorable melodies and hooks. Rikard Sjoblom re-affirms his ‘Prog’ credentials by resorting to a double neck electric guitar!
As the first section nears its conclusion most of the band vacate the stage leaving Mitchell and ‘NDV’ together to vamp out on an inventive trumpet and drums instrumental exchange, punningly called Drumpet. Nick D’Virgilio’s position on the stage, with his drums sideways on at the right front, is a canny piece of theatre as it allows the audience to clearly see his amazing percussive skills, unlike many drummers who are hidden away at the back. NDV is simply one of the best drummers on the planet right now, so seeing him so clearly in action is a special treat.
The stage then darkens until a spotlight shines on Holldorff on piano, picking out the unmistakable first notes of the iconic classic East Coast Racer. A cascade of drums propels us along the tracks of this frantic musical journey with the drama heightened by the call and response section between Bravin and the rest of the band. Indeed, Bravin’s vocals really shine on this piece, particularly some falsetto sections. This may have been a song made famous by the sadly departed David Longdon, but Alberto Bravin has also put his own distinctive stamp on this epic. Greg Spawton lays down the rock-solid bass tracks along which this express train of a song flies along, as he does throughout the show in his own unassuming but crucial manner. This epic piece never fails to thrill and move the crowd, especially the She Flies sequence, and the crowd absolutely loved it. What a way to finish just the first section!
Next up was a monumental slab of new music: the whole of Woodcut. A band playing all of a new album of not so familiar tunes can be a challenge, and historically not always welcomed by their audiences. The Who found to their cost that crowds just were not ready for hearing most of Quadrophenia when they first toured it, and some Genesis audiences were not always receptive to hearing just The Lamb Lies down on Broadway… both difficult to believe now as they are both albums regarded as iconic releases, but there is a risk on embarking on such a musical journey with an audience, even one as loyal (and sometimes obsessively feverish!) as the ‘Passengers’!!
To enhance the story about a woodcarver being drawn into the world he created, Big Big Train utilise fascinating animations on a back screen, thus greatly embellishing their Story Telling skills. However, beautifully animated images and an interesting narrative are one thing – what about the music – does it work in concert? Well, it is no exaggeration to say that the opening five songs of Woodcut are one of the finest passages of rock ever recorded by this band. The Artist draws us in with soft guitars and flute sounding keys before the forceful recurring riff plunges us into this story… and they really rock! The gentle piano and vocals of Lie of the Land is more contemplative and atmospheric before segueing smoothly into the marvellous folk infused splendour of The Sharpest Blade. Claire Lindley, previously of Stackridge, takes the opening lead vocals over tribal drums and her own fine fiddle playing. This dark dramatic piece captivates us with images and sound, and then leads us into the thrilling rock of the opening sequence in the brilliant Albion Press where Big Big Train really stretch out, in front of images of a mechanical press embossed with ‘BBT’. Greg Spawton is donning a magnificent customised Rickenbacker Double Neck Bass & 12 String Guitar, and his rhythmic bass masterfully underpins this stellar piece. This outstanding opening sequence is topped off by the gorgeous melodic beauty of Arcadia, aching with heartfelt vocals and enhanced with beautiful pastoral scenes, as Lindley supports Rikard Sjoblom on additional acoustic guitar.
Warp and Weft spasms across the stage, led by NDV’s insistent drumming and his intense, urgent vocals. Bravin joins Sjoblom on electric guitars before the whole band vocalises intuitively on a multi-layered a cappella section, leading into a sinuous double keys section as Bravin supports Holdorf – is there nothing Bravin cannot do?! The intensity gives way to a brighter Chimaera full of jangling guitars which sees Holldorff take on some lead vocals in a joyous refrain. This multi-talented band is filled with so many quality voices. Mitchell embroiders the song with trumpet and violinist Lindley steps forward to take centre stage. Dead Point is more glacial in atmosphere initially before taking a more forceful darker direction. The much gentler Light without Heat leads into Lindley and NDV combining beautifully on vocals in Dreams in Black and White before Sjoblom reels out a languid guitar passage.
Big Big Train pull out all the stops on the exhilarating instrumental tour de force Cut and Run, featuring some great organ work from Holldorff, trading riffs with Bravin and Sjoblom on twin guitars. The whole band are flying along, riding on D’Virgilio’s lithe drumming and Spawton’s great bass. They play around with a real earworm hook and infectious riffs in a live version which seems to extend it beyond the recorded version – absolutely brilliant. In this show it is clear that Big Big Train have fully realised that as a ‘Progressive Rock’ band they perhaps needed to focus a little more on the ‘ROCK’ part of that label… and boy, do they rock in this gig.
Having taken the whole audience on a tumultuous journey Big Big Train deliver the final musical caress with the delightful and shimmering Counting Stars, featuring Greg Spawton on 12 string guitar on his customised double neck. Even more remarkably Spawton takes on some soft lead vocals briefly – wonders never cease! The final coup de grace is delivered in the melodic glory of Last Stand as some earlier themes are reprised joyously in front of striking, beautiful images. The standing ovation is instantaneous and universal for an incredible performance.
Woodcut has left a great impression as Big Big Train have delivered one of the best albums of 2026. Impressively, these master story tellers have taken that material and creatively carved out one of their best ever live performances. Big Big Train have not stood still in the sidings – they have skilfully been able to express their music with spectacular skill – indeed they have taken their live performances on to an even higher level. A simply outstanding performance!
[Our thanks to John Dunkerley for the live photos used in this review]
SETLIST
– Other Stories
Salisbury Giant
London Plane
Swan Hunter
Kingmaker
Lost Rivers of London
Drumpet (Instrumental Duet with Drums and Trumpet)
East Coast Racer (with finale from ‘Love is the Light’)
– Woodcut
Inkwell Black (Intro Music on screen)
The Artist
The Lie of the Land
The Sharpest Blade
Albion Press
Arcadia
Second Press
Warp and Weft
Chimaera
Dead Point
Light Without Heat
Dreams in Black and White
Cut and Run
Hawthorn White
Counting Stars
Last Stand
MUSICIANS
Alberto Bravin – Vocals, Additional Electric Guitar & Keyboards, Tambourine
Nick D’Virgilio – Drums, Vocals
Greg Spawton – Bass, Bass Pedals, Customised Rickenbacker Double Neck Bass & 12 String Guitar, Vocals
Oscar Holldorff – Keyboards, Vocals
Claire Lindley – Violin, Vocals, Additional Acoustic Guitar
Rikard Sjoblom – Electric Guitars, Vocals
Paul Mitchell – Trumpet, Recorder, Additional Keyboards
LINKS
Big Big Train – Website | Facebook | Facebook (Group) | Bandcamp | YouTube | X | Instagram
