Gig review: MAGNUM – The O2 Forum, Kentish Town, London, 21 January 2025

It is just over a year since the sad passing of Tony Clarkin, Magnum’s songwriter, guitarist and inspiration. And now the rest of the band have reformed to celebrate his glorious words and music. Titled ‘A Passage Through Time’ this was the first gig of a five-night tribute tour and a packed Forum was giddy with the anticipation of high emotion.

The drama begins to unfurl in the very opening moments as a hooded figure emerges from the gloaming at the back of the stage, lasers flashing around the apparition. No, this was not Claudia Winkleman in an extra scene from ‘Traitors’, but the manifestation of the figure on the Rodney Matthews-created cover art to ‘On a Storyteller’s Night’; and the prelude to its magnificent opening track, ‘How far Jerusalem’.

The first time I saw Magnum way back in 1985, this was the opening tune. How perfectly full-circle to see it re-instated at the head of this show. Bob Catley slips into his time-honoured narration of the song with gestures, poses and sweeping movements, delivering the quiet, soft verses and the cathartic, stomping choruses with energy and aplomb.

2018’s ‘Lost on the Road to Eternity’ follows, and as the most recent track on view tonight and it has fallen into the back-catalogue seamlessly.

Bob pauses, welcomes everyone to the show and says that tonight isn’t a time for any more sadness. There are loud cheers. He introduces Brendan Riley on guitar, filling the rather large boots of Tony Clarkin, with some lovely warm words. Brendan has something of a bead on the gig, having been Clarkin’s guitar tech for many years, but this is a whole other ball game.

In parts, the technically tricky ‘Wild Swan’ from ‘Wings of Heaven’ could have proven to be his first real test, but Riley nails the sharp, incisive solo lines with flying colours. Was there ever any doubt?

‘When We Were Younger’, another track that has settled well in recent set lists, cements the relationship between band and audience. This tour couldn’t happen until Catley was at peace with himself about hitting the road in his partner’s name. An enduring relationship of over 45 years. Clarkin wrote the songs and Catley makes them fly. Like Daltrey is to Townshend.

The bar stools are wheeled out for a short acoustic interlude. Bassist Dennis Ward and Riley flank Bob who has claimed an executive perch with padded seat and backrest. His feet don’t quite meet the floor and he spins round like he’s at the office away day. ‘Tall Ships’ is a relatively deep dive, and springs forth with charm and simple, beautifully crafted melodies. The vocalist looks like he’s having fun, and it’s infectious.

‘The Flood (Red Cloud’s War)’ has a thrilling mid-section break down where Lee Morris on drums makes his clattering marks and Riley washes up with a scintillating solo.

Though there are many fine contenders, my personal favourite Magnum track makes its stealthy appearance next: ‘Les Morts Dansant’ captures Clarkin’s lyrics at their most eloquent and effective in describing the execution of a WWI soldier. Catley does them justice, and frankly, so do we all. ‘Ooh, gather round reluctant marksmen/One of them to take his life/With a smile he gives them pardon/Leaves the dark and takes the light’. The sentiments ring loud and clear. The atmosphere in the room is palpable. LED phone torches are aloft and gently swaying. Spines are tingling.

In a classic pairing, the epic WWI track ‘Don’t Wake the Lion (Too Old to Die Young)’ follows hard on the heels of ‘Les Morts’. Another fine song that twists, builds and soars. Riley is really hitting his straps with the guitar parts, but the whole band are on top form, engineering the changes of pace and mood. There’s a fresh feel to the atmospheric mid-section with a few new keyboard bells and whistles introduced by Rick Benton.

This marks the end of the first set. Just time to move from the back of the monster merch queue to about half way before the band is back!

We are off with a punchy ‘Soldier of the Line’, part three of tonight’s war trilogy, before a rollicking, freewheeling, deliciously poppy ‘Just Like an Arrow’ brings an unexpectedly strong audience reaction and raises the temperature by a good few degrees.

And with the sense and judgement that comes from years on the road, the band bring the mood back with ‘Need a Lot of Love’, described by Bob as one of Tony’s favourite songs. Tonight it feels quicker and yet more spare than the album version. Benton’s piano cuts through beautifully.

Dennis Ward is providing plenty of backing vocals, helping out Catley, who’s voice remains strong for the most part, but shows a few more signs of wear and tear these days. Indeed my mate suggested that once Bob hangs up his mic, maybe there is a retirement gig with fellow Brummie legend Ozzy on Gogglebox. That I would watch!

The fan favourites keep coming. ‘On a Storytellers’ Night’ again amplifies Clarkin’s simple but powerfully evocative writing. Another fast/slow, hard/soft composition with more jazz piano inflections on the verse than I’ve heard before and a new keyboard passage replacing a previous guitar solo.

It is breathless by now and ‘All England’s Eyes’ keeps up the relentless indulgence. Bob leading another mass sing-a-long and Benton is in his element, bringing a total pomp overload on the instrumental passage.

More full throttle classics. ‘Vigilante’ flies by, with the whole crowd in the very centre of Bob Catley’s rather large and expansive palms. ‘Kingdom of Madness’ kicks in and the night’s first air drumming is spotted down the front during the heavy, hard rock intro. How well the band’s first set paved the way for this second helter-skelter draught of older material.

Gig review: MAGNUM – The O2 Forum, Kentish Town, London, 21 January 2025 There’s a traditional break before the encore, and Catley dedicates ‘The Spirit’ to Tony Clarkin, as it surely had to be. Whilst there is nothing maudlin about the rendition, Bob’s voice is noticeably cracking towards the end, and maybe the emotion is finally having an impact.

“We’ll see you sometime, somewhere” says the front man enigmatically, as ‘When the World Comes Down’ brings the show to a close (just like in olden times). There are band introductions and generous colleague back-slapping and crowd cheering for Brendon Riley, in recognition of the mammoth job he has just taken on – and smashed.

I’ll admit to a small degree of scepticism before tonight’s show. That double-edge word ‘tribute’ hanging over the tour like the teeth-sucking of a mocking purist. But this was the real deal, no doubt. Cast iron and copper-bottomed. The show felt like a partnership between band and audience. It created an electric atmosphere in which we shared a full-hearted celebration of Tony Clarkin’s wonderful, idiosyncratic legacy.

Review by Dave Atkinson
Photos by Andy Nathan

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