When Magnum played “The Spirit” as the first song of their encore, it is dedicated to Tony Clarkin—he was, says singer Bob Catley, “the spirit of Magnum”. His image is on the big screens. These are his amazing songs. In many ways, tonight was his night.
It’s fitting, too, that the culmination of these celebration shows is here over this weekend. It was on December 10th, 2022, that they played their last show with Clarkin, doing so in this room. A wonderful evening that has been immortalised on the recent live album.
There’s a different feel to tonight, obviously, but many of the songs hadn’t been played for a while. “How Far Jerusalem” is bouncy, joyous almost. The chants of “Tony, Tony” as the pictures were played to usher in the band more or less set the tone.
“Lost On the Road to Eternity”—as it was a couple of years ago—is aired early, and there’s a sort of “epic” feel to the first hour.
“When We Were Younger” is obviously poignant in the circumstances, but this feels more upbeat than that. It feels like Catley—who has, after all, been singing Clarkin’s songs for half a century—is loving doing just that again.
The pleasure in this too—even as someone who’s seen Magnum many times—is the songs you’ve not heard for ages, like “Tall Ships,” one from the *Rock Art* album, which showcases the keys that were so integral to the band. Rick Benton is in fine form throughout, but never better than here.
The effortlessly epic was always Magnum’s stock in trade, and “The Flood (Red Cloud’s War)” showcases that perfectly, but moreover, it’s a chance for Tony Clarkin’s former technician, Brendan Riley, to channel the great man. He is visibly emotional a few times, but he is wonderful too.
All of us have favourites from the back catalogue, no doubt, but “Les Morts dansant” seems a collective moment, as the torches light the sky.
Some old stuff has been dusted off here, and “Don’t Wake The Lion (Too Old To Die Young)” is one that works brilliantly, closing the first set with a glorious, brooding feel before it explodes. It is truly exceptional.
Split into two halves, part two kicks off with “Soldier of the Line,” and it has that “classic” sound, although Clarkin wrote many songs about war, this really leans into a militaristic sound.
“Just Like An Arrow” is a contrast, both bombastic and fun (“I had visions of the 80s then,” jokes Catley). Before what he terms as “one of Tony’s finest songs,” “Need a Lot of Love,” and if that lives up to the billing, then with a simple “Can you tell me a story, please?” one of the finest quartets that will be played anywhere this year begins.
After “On a Storyteller’s Night” comes “All England’s Eyes,” and how about “Vigilante” and “Kingdom of Madness”?
Magnum are an incredible band—one that I have felt over the years perhaps doesn’t get the credit they deserve—but only the best can end like that. And make no mistake, they are, were, and will remain one of the very best.
They are a little like Saxon, perhaps, “people’s band,” and indeed, when the fireworks go off at the start of the latter and 2000 people scream, “You got me on the run,” you get a sense of 50 years of love.
Which is sort of where this review began, but after that, the crescendo of “When The World Comes Down” gets them swaying.
A wonderful night, with a wonderful band and some incredible songs, but maybe the last word should go to Catley—who had clearly forgotten the fireworks would be back at the end of “…Down” and jumps out of his skin. Earlier in the night he’d said, “This passage in time is a tribute to Tony Clarkin. You all know him as a wonderful songwriter and guitarist, but even more, he’d been my mate for 50 years.”
It’s a wonderful legacy to leave.
PHOTOS: KEITH TRACY
