The Brutalist exterior of the Barbican Centre may divide opinion but stepping within its walls, with its wide spaces, staggered staircases, parquet floors, and hidden nooks and crannies, it is an oasis of calm. The Barbican Hall is a charming music venue and befitting to host the equally charming Neil Hannon as The Divine Comedy take to the road to promote their 13th studio album, Rainy Sunday Afternoon. Their two-hour performance showcased the enduring wit and orchestral pop mastery of the band\u2019s repertoire, skilfully blending fresh material with beloved classics that span three decades.<\/p>\n
The concert commenced not with a typical pop fanfare, but with the stately grace of Edward Elgar\u2019s \u2018Nimrod,\u2019 a fittingly theatrical overture for Hannon, sporting a suit and Trilby hat, to take the stage. The first songs on offer were two tracks from the new album: \u2018Achilles\u2019 and the poignant \u2018The Last Time I Saw the Old Man.\u2019 These immediately set a tone that was both anthemic and optimistic yet tinged with the melancholic reflection that is a hallmark of Hannon\u2019s writing, addressing themes of memory and mortality.<\/p>\n
Strings, accordion, keyboards provide a lush companion to Hannon\u2019s baritone and discernment of a catchy melody. The setlist weaved through fan favourites and new cuts. \u2018When the Lights Go Out All Over Europe\u2019 and \u2018Rainy Sunday Afternoon\u2019 gave way to the pop classic \u2018Norman and Norma\u2019, followed by a moment of unexpected warmth when Hannon asked the audience to sing \u2018Happy Birthday to You\u2019 for his mother, before launching into \u2018I Want You\u2019.<\/p>\n
The middle section of the set showcased Hannon\u2019s ability to pivot between biting satire and pure pop joy, including the jaunty \u2018Bang Goes the Knighthood\u2019, \u2018Generation Sex,\u2019 and the nostalgic \u2018At the Indie Disco.\u2019 A distinctive piece of stagecraft followed as Hannon wheeled out a trolley dispensing mid-time drinks, serving as barman pouring each band member their tipple of choice as they played a lounge-light Bossa nova.<\/p>\n
Then the new album was revisited as the Latin vibe merged into the satirical \u2018Mar-a-Lago by the Sea,\u2019 which, like the drinks trolley skit, proved Hannon’s continued interest in topical political commentary delivered with a light, humorous touch.
\nThe performance hit a high point during \u2018Our Mutual Friend\u2019, a track revered for its narrative complexity. Hannon left the stage and ventured into the auditorium, briefly connecting with the audience before returning to the spotlight. This moment was a notable contrast to the earlier segments where Hannon, seemingly preoccupied with his earpiece, appeared momentarily disconnected from some shouts coming from the crowd.<\/p>\n
The final run of the main set was a cavalcade of signature hits: \u2018Something for the Weekend\u2019, \u2018Becoming More Like Alfie\u2019, and the jubilant travelogue \u2018National Express\u2019 which got everyone up on their feet. Little time was wasted before an encore that included the tender \u2018Invisible Thread\u2019 and the uplifting \u2018Tonight We Fly\u2019.<\/p>\n
The two-hour show was a testament to Hannon\u2019s craft, proving that sophisticated orchestral pop can still resonate with mass appeal.<\/p>\n","protected":false},"excerpt":{"rendered":"
The Brutalist exterior of the Barbican Centre may divide opinion but stepping within its walls, with its wide spaces, staggered staircases, parquet floors, and hidden … <\/p>\n","protected":false},"author":1,"featured_media":4292,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-4291","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog"],"yoast_head":"\n