Theatre Severn was a lot more salubrious than the Lomax in Liverpool 11 years before. In my recent interview with Martin Barre I reminded him of our last face to face chat before a gig he described as the worst venue he’s ever played. The Lomax closed a year later but Martin has gone from strength to strength ever since, spending a fair amount of time touring in the States.

Now back in Blighty he’s promoting a new autobiography and acoustic tour. Strangely there were no books on the merch stall and no reference on stage.  I sense Martin might be a little reticent about these things and not naturally demonstrative.

I’m not aware Martin has played purely acoustically in the UK, only an interlude in his 2019 50 years of Tull celebration. On that occasion singer Alex Hart was joined by Becca Langsford and the female voices really added to the Tull canon and gave it a new twist.

This time Alex (who opened the show) was used somewhat sparingly in the first half with the focus on Dan Crisp and of course their leader. Crisp is an excellent conveyor of Ian Anderson’s lyrics: deferential without being a clone.

What I found particularly entertaining was Barre’s banter. He’s evidently not the most natural of raconteurs (he was very much in Anderson’s shadow for the duration) but his honest and slightly absent-minded-professor approach was brilliant and quite endearing. In the first half he wrongly anticipated “Spanish Tears’ which led to some extended and playful exchanges with his band.

His wife apparently encouraged him to play more blues, he announced before ‘As Told By’, but his protestations that he couldn’t actually play the blues were somewhat incredulous.

Swopping his guitar for ‘Can’t Find My Way Home’ he said “I’ve got to use this guitar to justify buying it”

In fact the banter was a real highlight. Martin seems a reluctant hero. Perhaps now more mindful of his contribution to Tull over the years, not least prompted by the outpouring of warmth from fans following his Tull exit. But perhaps also able to compartmentalise experiences.

As expected with a large quotient of Tull the gig demonstrated the strength of the songs, stripped back but maintaining their original appeal. Only ‘Teacher’ was crying out for a huffing and puffing flute but Barre did play that instrument for a very respectable version of ‘Serenade To A Cuckoo’.

Alex Hart was better utilised in the second half when she supplied lead and backing vocals, in particular a sublime rendering of “Life Is A Long Song’ and ‘New York Minute’ respectively.

One time John Martyn bassist Alan Thomson delivered some solid acoustic bass and guitar throughout.

There was a lighter moment when the band reprised Long John Baldry’s version of ‘Everything Stops For Tea’ (evidently tested on U.S. audiences in April) but overall this was a pleasing perambulation through Barre’s back pages.

In our chat about his book Martin was right to claim that his era of music will never be repeated, when he struggled to acquire a guitar and auditioned for a nascent blues band whilst improving his musical skills. And then had a 43 year career with a major touring and recording band.

Looking around a warm and appreciative audience of a certain age, including this writer, I couldn’t help thinking for both artist (a day after his 79th birthday) and their admirers “the tune ends too soon for us all.”

Empty Café / As Told By / Can’t Find My Way Home / Sossity You’re A Woman / Spanish Tears / Home / Slipstream / Under Wraps / Wond’ring Aloud / Cheap Day Return/ A Jig / Hymn 43

Serenade To A Cuckoo / Cross Road Blues / Sea Of Vanity / One White Duck / Life Is A Long Song / Mother Goose / It’s My Round / Trinity / Unconditional / Strangers And Lovers / New York Minute / Everything Stops For Tea/ Fat Man / Teacher / Encore: Still Loving You Tonight

Review and photos by David Randall

Book review/interview (November 2025)

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