Anathema & Rendezvous Points, London Palladium
It’s funny how fate deals its cards. Five years to the day since Mrs H and I made our first visit to Liverpool to watch the Liverpudlians play a monumental acoustic show at the Anglican Cathedral, we found ourselves on the National Express to London for another golden moment in the history of a band who are understandably touring at fewer smaller venues across the UK circuit and instead are deservedly playing larger and more spectacular venues.
It’s funny how fate deals its cards. Five years to the day since Mrs H and I made our first visit to Liverpool to watch the Liverpudlians play a monumental acoustic show at the Anglican Cathedral, we found ourselves on the National Express to London for another golden moment in the history of a band who are understandably touring at fewer smaller venues across the UK circuit and instead are deservedly playing larger and more spectacular venues.
For those of a certain age, the London Palladium was a staple of television, with Royal Variety performances sprinkled with stars of many generations, all playing at the Grade II listed venue. For Anathema (10), it was recollections of clips of The Beatles playing at the 2286 seated capacity venue that sparked their desire to play here. Their promo videos in the lead up to the event promised a night of quality and passion and that is exactly what the near capacity crowd were treated to. I say treated, because every Anathema gig is a special experience which are often real ‘I was there’ moments, snapshots in time laced with personal memories to treasure. They continue to be a source of magical enchantment every time.
The promise of We’re Here Because We’re Here being played in full was the biggest draw and judging by the reaction around the grand old theatre as the evening unfolded, this is an album which is incredibly special to many fans. The turning point in their musical journey in many ways, now ten years old, and a significant shift to the progressive sound which shaped Anathema’s sound for the past decade.
The album contains familiarity for those who may not know it well. Tracks such as Thin Air which opened the evening to huge applause, and the emotionally draining Universal which saw grown men openly weeping in sheer exhilaration have been staples in the band’s set for some time. The explosive Summer Night Horizon, with Lee Douglas providing the soaring contrast to Vincent Cavanagh’s more earthy delivery came directly after Thin Air, the precision drumming of Daniel Caroso and the razor-sharp guitar of Danny Cavanagh immediately changing mood and pace. The contrast continued with the beautiful, heart wrenching Dreaming Light, the tempo slowed but by no means less forceful; the first tears of joy were already being shed.
The promise of We’re Here Because We’re Here being played in full was the biggest draw and judging by the reaction around the grand old theatre as the evening unfolded, this is an album which is incredibly special to many fans. The turning point in their musical journey in many ways, now ten years old, and a significant shift to the progressive sound which shaped Anathema’s sound for the past decade.
The album contains familiarity for those who may not know it well. Tracks such as Thin Air which opened the evening to huge applause, and the emotionally draining Universal which saw grown men openly weeping in sheer exhilaration have been staples in the band’s set for some time. The explosive Summer Night Horizon, with Lee Douglas providing the soaring contrast to Vincent Cavanagh’s more earthy delivery came directly after Thin Air, the precision drumming of Daniel Caroso and the razor-sharp guitar of Danny Cavanagh immediately changing mood and pace. The contrast continued with the beautiful, heart wrenching Dreaming Light, the tempo slowed but by no means less forceful; the first tears of joy were already being shed.
It was a shock to many when Jamie Cavanagh left the band in 2018, and despite a return for the shows in Summer 2019, he is no longer part of the band. Enter bassist Charlie Cawood, who didn’t put a note wrong throughout the show and looked like he’d been there for years. But this was night where bum notes were virtually impossible to detect … because there weren’t any.
Three songs in and it was time for Danny to start his audience participation, urging the willing crowd to clap along as Everything allowed Lee to return to the stage, her duet with Vincent always a highlight, Danny’s keyboard riff, Charlie’s simple bass and Daniel’s percussion combining to build. That’s a big part of the joy of this band, the layered complexity to each track. Nothing is simple and as they embrace technology the future should be even more amazing. The perfect example followed, as Angels Walk Among Us hit right in the feels. One of the less well-known tracks on the album, it’s probably one of the strongest, the slow smoulder with the beautiful melody increasing in urgency and veracity as it progresses. The visuals were combining sweetly with the music on the large screen behind the band, whilst the light show was subtle, bathing the stage in a hue of pinks and reds, and later greens and blues with a plethora of freedom sticks placed around the stage enhancing to the effects.
With Danny looking visibly more relaxed than he has appeared in recent shows, Anathema continued to soar as they raced through the album. Arguably the highlight of the evening, A Simple Mistake followed Presence, with the emotive narration of Stan Ambrose projected on the screen. A Simple Mistake was genuinely one of the greatest things I have ever seen from this band, Danny’s searing guitar work and the interplay across the band as the song reached a magnificent climax drawing gasps of delight around the auditorium. I’m sorry, you really had to be there to take it in fully.
Both Danny and Vincent had hinted at a surprise on Get Off, Get Out, one of two tracks that the absent John Douglas wrote on the album. Reassuring the fans that John was working on new music for the band’s forthcoming album, Danny and the band then delivered a refashioned version of Get Off, Get Out, which apparently took it back to the originally planned electronics roots. Good news. It worked perfectly and its high intensity segued into Universal with mechanical precision. We know this track, it’s an emotional ball grabber, dramatic and intense, once more hooking the audience into trance like status before breaking into the second part which demands the audience rise and clap along. Danny roaming the orchestra pit cover, urging the crowd to get involved whilst the strings and keyboards raced along, the clouds on the screen rolling by. Closing the album with the melancholic yet fantastically uplifting Hindsight, an hour in and the band were really enjoying it as much as the crowd. Occasional glances at each other, nods of affirmation, this was Anathema in absolute perfect harmony. The emotional contact with the audience strong.
Three songs in and it was time for Danny to start his audience participation, urging the willing crowd to clap along as Everything allowed Lee to return to the stage, her duet with Vincent always a highlight, Danny’s keyboard riff, Charlie’s simple bass and Daniel’s percussion combining to build. That’s a big part of the joy of this band, the layered complexity to each track. Nothing is simple and as they embrace technology the future should be even more amazing. The perfect example followed, as Angels Walk Among Us hit right in the feels. One of the less well-known tracks on the album, it’s probably one of the strongest, the slow smoulder with the beautiful melody increasing in urgency and veracity as it progresses. The visuals were combining sweetly with the music on the large screen behind the band, whilst the light show was subtle, bathing the stage in a hue of pinks and reds, and later greens and blues with a plethora of freedom sticks placed around the stage enhancing to the effects.
With Danny looking visibly more relaxed than he has appeared in recent shows, Anathema continued to soar as they raced through the album. Arguably the highlight of the evening, A Simple Mistake followed Presence, with the emotive narration of Stan Ambrose projected on the screen. A Simple Mistake was genuinely one of the greatest things I have ever seen from this band, Danny’s searing guitar work and the interplay across the band as the song reached a magnificent climax drawing gasps of delight around the auditorium. I’m sorry, you really had to be there to take it in fully.
Both Danny and Vincent had hinted at a surprise on Get Off, Get Out, one of two tracks that the absent John Douglas wrote on the album. Reassuring the fans that John was working on new music for the band’s forthcoming album, Danny and the band then delivered a refashioned version of Get Off, Get Out, which apparently took it back to the originally planned electronics roots. Good news. It worked perfectly and its high intensity segued into Universal with mechanical precision. We know this track, it’s an emotional ball grabber, dramatic and intense, once more hooking the audience into trance like status before breaking into the second part which demands the audience rise and clap along. Danny roaming the orchestra pit cover, urging the crowd to get involved whilst the strings and keyboards raced along, the clouds on the screen rolling by. Closing the album with the melancholic yet fantastically uplifting Hindsight, an hour in and the band were really enjoying it as much as the crowd. Occasional glances at each other, nods of affirmation, this was Anathema in absolute perfect harmony. The emotional contact with the audience strong.
Applause dying down, it was time for a “few other songs”. What we got was a strong eight tracks that would make a stunning album. The auditorium was up and dancing with the infectious melody rich Can’t Let Go from 2017’s The Optimist, followed by The Lost Song. Pt 3, one of two from Distant Satellites. A rich and creative reworking of Springfield provided yet another treat for those who enjoy the way the band explore and test their musical muscles. Closer is one of my least favourite songs but was still epically powerful.
14 songs down, the two-hour mark rapidly approached but Anathema showed no signs of slowing, Vincent telling the audience about his conversation with their 90 year old grandmother in North Wales, before he and Daniel battled out the now traditional rhythms on their drums during Distant Satellites. If you’ve ever seen Anathema, you’ll know that phone lights in the air during A Natural Disaster are demanded by Danny as the stage lights dim and Lee Douglas takes the lead. This was no exception, except for the quite sensational vocal performance which had the hairs on the neck standing. I’ve eulogised before about this song and Lee’s performance. This was the best I’ve ever seen.
How to follow that? Well, if there are two songs that symbolise why Anathema are now appealing to wider audiences, then it must be Untouchable Part I and Part 2. Dedicating Part 2 to their deceased mother, Danny tugged at the heart strings one final time; cue mass audience singing, gentle intakes of breath as the emotions got hit for a final time and Anathema spun those last drops of energy out of their performance. Surely that was the end? With the band exiting the stage, you’d think so but no. Their triumphant return saw factual detail of the Rosetta space probe, which hard landed into the comet 67P/Churyumov–Gerasimenko in 2016 after successfully completing the mission it began 12 years earlier projected onto the screen whilst the band played out their final song of the night, an interesting cover of Hans Zimmer’s Day One, a teaser from the forthcoming album. As the strains of Twist and Shout played out over the PA, Vincent and Lee joining in with the vocals, the final applause rang out over another special evening.
Earlier in the evening Norwegian progressive metal outfit Rendezvous Point (8) had captivated those who sensibly decided that London prices in the bars were not for them. The band from Kristiansand are rightly billed as one of the most exciting and promising bands from the Southern part of Norway and their intelligent and compelling music using complex rhythms, detailed arrangements laced with layers of fantastic melodies was the perfect appetiser. Vocalist Geirmund Hansen possesses one of the most striking voices in rock whilst the tightness of the band that includes Baard Kolstad on drums (Leprous, Borknagar, ICS Vortex), Petter Hallaråker on guitar (ICS Vortex, Solefald), Nicolai Tangen Svennæs on keyboard and Gunn-Hilde Erstad on bass was no less impressive. A band that deserve a review in their own right but the night was about the Liverpudlians.
14 songs down, the two-hour mark rapidly approached but Anathema showed no signs of slowing, Vincent telling the audience about his conversation with their 90 year old grandmother in North Wales, before he and Daniel battled out the now traditional rhythms on their drums during Distant Satellites. If you’ve ever seen Anathema, you’ll know that phone lights in the air during A Natural Disaster are demanded by Danny as the stage lights dim and Lee Douglas takes the lead. This was no exception, except for the quite sensational vocal performance which had the hairs on the neck standing. I’ve eulogised before about this song and Lee’s performance. This was the best I’ve ever seen.
How to follow that? Well, if there are two songs that symbolise why Anathema are now appealing to wider audiences, then it must be Untouchable Part I and Part 2. Dedicating Part 2 to their deceased mother, Danny tugged at the heart strings one final time; cue mass audience singing, gentle intakes of breath as the emotions got hit for a final time and Anathema spun those last drops of energy out of their performance. Surely that was the end? With the band exiting the stage, you’d think so but no. Their triumphant return saw factual detail of the Rosetta space probe, which hard landed into the comet 67P/Churyumov–Gerasimenko in 2016 after successfully completing the mission it began 12 years earlier projected onto the screen whilst the band played out their final song of the night, an interesting cover of Hans Zimmer’s Day One, a teaser from the forthcoming album. As the strains of Twist and Shout played out over the PA, Vincent and Lee joining in with the vocals, the final applause rang out over another special evening.
Earlier in the evening Norwegian progressive metal outfit Rendezvous Point (8) had captivated those who sensibly decided that London prices in the bars were not for them. The band from Kristiansand are rightly billed as one of the most exciting and promising bands from the Southern part of Norway and their intelligent and compelling music using complex rhythms, detailed arrangements laced with layers of fantastic melodies was the perfect appetiser. Vocalist Geirmund Hansen possesses one of the most striking voices in rock whilst the tightness of the band that includes Baard Kolstad on drums (Leprous, Borknagar, ICS Vortex), Petter Hallaråker on guitar (ICS Vortex, Solefald), Nicolai Tangen Svennæs on keyboard and Gunn-Hilde Erstad on bass was no less impressive. A band that deserve a review in their own right but the night was about the Liverpudlians.