by 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’s repertoire, skilfully blending fresh material with beloved classics that span three decades.
The concert commenced not with a typical pop fanfare, but with the stately grace of Edward Elgar’s ‘Nimrod,’ 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: ‘Achilles’ and the poignant ‘The Last Time I Saw the Old Man.’ These immediately set a tone that was both anthemic and optimistic yet tinged with the melancholic reflection that is a hallmark of Hannon’s writing, addressing themes of memory and mortality.
Strings, accordion, keyboards provide a lush companion to Hannon’s baritone and discernment of a catchy melody. The setlist weaved through fan favourites and new cuts. ‘When the Lights Go Out All Over Europe’ and ‘Rainy Sunday Afternoon’ gave way to the pop classic ‘Norman and Norma’, followed by a moment of unexpected warmth when Hannon asked the audience to sing ‘Happy Birthday to You’ for his mother, before launching into ‘I Want You’.
The middle section of the set showcased Hannon’s ability to pivot between biting satire and pure pop joy, including the jaunty ‘Bang Goes the Knighthood’, ‘Generation Sex,’ and the nostalgic ‘At the Indie Disco.’ 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.
Then the new album was revisited as the Latin vibe merged into the satirical ‘Mar-a-Lago by the Sea,’ which, like the drinks trolley skit, proved Hannon’s continued interest in topical political commentary delivered with a light, humorous touch.
The performance hit a high point during ‘Our Mutual Friend’, 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.
The final run of the main set was a cavalcade of signature hits: ‘Something for the Weekend’, ‘Becoming More Like Alfie’, and the jubilant travelogue ‘National Express’ which got everyone up on their feet. Little time was wasted before an encore that included the tender ‘Invisible Thread’ and the uplifting ‘Tonight We Fly’.
The two-hour show was a testament to Hannon’s craft, proving that sophisticated orchestral pop can still resonate with mass appeal.
