Big Big Train The Likes of Us

What does it sound like?:

There are plenty of new items on the Departures Board on this, the fifteenth album from Big Big Train:

It marks the first with Italian singer, Alberto Bravin, (ex-PFM,) who replaces the much-loved David Longdon following his tragic death in late 2021.

It is the band’s first album on Inside Out, Sony’s premier prog label, (their previous recordings being self-released on English Electric.)

It is also a first in the modern history of the band in that the tracks were recorded with the musicians all playing together, in one room, with songs being changed, extended and polished as they were captured by the engineers.

It is a departure from previous BBT albums in that there are less storytelling-songs than usual. This time, with the passing of Longdon, family bereavement and individual upheaval, the songs are more personal and more introspective than before. Greg Spawton’s strap-line for the album, ‘this time it’s personal,’ rings so true as you immerse yourself into it.

Long-time fans of the band need have no concerns though. This is most definitely a Big Big Train album; and one of their very best.

I will also say that it is the most organic, emotional album the band has ever made.

The three short stanzas which Alberto Bravin sings at the very start of the first song sound so familiar that fans will be put at their ease immediately. The fact that the rest of the song, Light Left In The Day, is an overture, an instrumental tour de force, introducing the musicianship which the band are so famous for, including Dave Desmond’s unique brass section, puts the listener further back into their comfy chair; BBT are back and all’s right with the world.

The two songs from the album which were featured on last year’s triumphant European tour; Oblivion and Love Is the Light; sound even better when set in the context of the music around them. Oblivion is as close to a straight-ahead rocker as BBT get while Love Is the Light is Bravin’s beautiful love-song which entranced tour-audiences; I went to eight gigs and couldn’t wait for it to come up in the setlist so that I could join with people around me and sing. As I travelled (mostly) alone around Europe the song came to represent the safety and welcome I felt as I arrived at each venue and saw familiar, smiling faces, before and after each show. The song became my sanctuary.

The two ‘epics’ on the album are both very different.

Beneath the Masts is Greg Spawton’s personal reflection on growing up in the Midlands, close to two huge radio masts, and the love from his beloved step-father, who Greg has gone back to see in a hospice. The song, written in Rome on a 12-string guitar, might have turned out very differently had Greg not had an instrumental demo from drummer Nick D’Virgilio on his laptop. The demo was stitched into the middle of the song and, when Greg played the whole thing back, it lasted 17 minutes. The recorded mid-section, which is almost brutal in its complexity and sound, gives the other musicians their chance to shine. I suspect that Beneath the Masts will become a live tour de force and a firm fan-favourite.

The big historical song on the album is the ten-minute Miramare, a story which Bravin brought to Spawton, as it is part of the folklore in Alberto’s home-city of Trieste in northern Italy, where the album was made. Greg then dug out three huge volumes of history books and the songwriting process was under way. It is the archetypal BBT song; lots of intrigue, romance, seafaring and madness. Oh, and a ghost. I predict it will be another favourite of live audiences everywhere.

Skates On, (a metaphor for not wasting time in this short life,) feels like a lovely tribute to Longdon, especially to his delightful song, Proper Jack Froster, from 2022’s Welcome to the Planet.

Bookmarks is a beautiful eulogy to old friends which, like many of the songs, holds some of the themes and phrases which only emerge after repeated listens, one of the band’s most-loved attributes.

The album’s closer, Last Eleven, is a call to arms for all of us who were left to last when the teams were being picked at school; but it is also about those outsiders, those of us who never quite fit in, but maybe find an acceptance within a group of people like the band’s fans; the Passengers. It is no coincidence that the seven-piece band, plus brass section, number eleven.

It is another magical, musical song which closes with words which could easily also apply to those of us who love this band:

“Shallow enders
Last eleven
Are we nearly there yet?
Can the likes of us
Find a place to call our own?”

I love that the band have gone for a more lush sound on the backing vocals on this album. With Oskar Holdorff, Rikard Sjoblom, Nick D’Virgilio and Clare Lindley they have a rich palette of colours to add to Alberto’s voice and the sound of their voices is reminiscent of Surf’s Up/Holland-era Beach Boys, early Crosby Stills Nash & Young and The Eagles at their very best. The image of them all around a mic at Urban Studios in Trieste, singing those harmonies, is yet another reason to love this album.

This is a complete album which serves the listener well when played from start to finish. The repeated vocal phrases and musical themes emerge, slowly, and the emotion of the music and lyrics takes the listener on a wonderful journey of discovery.

The Likes of Us is a fantastic introduction to this new version of Big Big Train. As usual, the cover-art by Sarah Ewing, is exceptional and immediately takes the listener to a different place to albums like Folklore and Grand Tour.

What does it all *mean*?

Having been lucky enough to have had it for a few weeks I can tell fellow Passengers that it is my favourite BBT album since English Electric Full Power, and is currently giving that gem a good run for its money.

Album of the Year.

Goes well with…

Good speakers or a great pair of headphones.

Release Date:

1st March 2024

Might suit people who like…

Wonderful music.

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