Generally described as "Chamber Prog" or "Chamber Progressive Rock", the Russian duo now based in the UK, Iamthemorning, formed in 2010, take their name from the song 'I Am the Morning' from Oceansize's debut release, 'Effloresce'. Comprising virtuoso classical pianist Gleb Kolyadin and charismatic vocalist Marjana Semkina, other than a very brief encounter at a wet Ramblin' Man Fair Prog Stage in July 2017, this was the fourth time I had seen St Petersburg's finest live, the other two previous performances being pre-Covid, just over five years ago at the Courtyard Theatre Studio, and more recently at the Sunday In September all-day festival, again in London, at Balham's The Bedford, featuring the very best in eclectic, modern Progressive and Alternative Rock music.

Indeed tonight's gig, similar to The Bedford, was organised by the reputable London Prog Gigs, at a new venue for us, St Matthias Church in London's Stoke Newington. Another first for us was queueing up for a gig in a churchyard in a location that even our Black Cab "The Knowledge" educated cabbie had difficulty in finding! Thankfully, with fireworks exploding in the night sky, we didn't have to wait long as we entered this beautiful atmospheric church with the dry ice special effects already in overdrive. In fact, it was a bit of a surprise that the gig was not held the night before on Halloween, given the band's well publicised fascination with death, suffering, being buried alive, coffins, etc. etc.

With a very healthy turnout sitting comfortably in their pews, Marjana spookily appeared out of the mist with her full band, to warm applause for her very first solo performance of her own releases. Admitting that she was very nervous and that she didn't want to "muck up", the lyricist, singer and songwriter needn't have worried, as she launched into the first four tracks, in order, off of her latest album, 'Sirin', released earlier this year, namely 'We Are The Ocean', 'Lost But At Peace', 'Anything But Sleep' - that saw the first, but not the last, mention of a "dead girl" in Marjana's introductions, and 'Pygmalion', with Semkina mysteriously, but confidently, striding up and down the aisle. Introduced as a "happy song", 'The Storm' was followed by another from 'Sirin', the delightful 'This Silence, This Dreaming', that saw Marjana go walkabout again amongst her enthralled audience.

Prematurely picking up her acoustic guitar and amusingly putting it back down again before 'Gone', the final track of her set from 'Sirin', Semkina again reemphasised how "scary" it was performing as a solo artist. Defiantly grabbing her acoustic guitar again for 'Disillusioned', the title track from Marjana's 2021 five-track EP, her superb quartet, consisting of bass/keys, drums and guitar, truly came into their own on this much heaver song, despite its intro hiccup. To be honest, being more familiar with her spellbinding debut album, 'Sleepwalking', I was personally delighted that she closed her mesmerising forty-five minute set with 'Turn Back Time', with yet another outstanding, crystal clear vocal that garnered further enthusiastic applause. What an opening.

After a welcome comfort break in the school toilet adjoined to the church, as well as Gleb now comfortably positioned, sitting behind his spectacular black grand piano, this ensuing classical solo interlude took me back to the aforementioned Courtyard Theatre gig when I had the pleasure of chatting to the composer and arranger. After his performance, as I suspected, Gleb confirmed that Keith Emerson was one of his major influences, and that 'Works' vibe, once again came across loud and clear tonight as, interspersed with improvisations, he played various songs from his three solo albums, 'Gleb Kolyadin' (2018), 'Water Movements' (2021) and 'The Outland (2022). the latter of which saw an all star cast including Porcupine Tree's Gavin Harrison on drums and King Crimson's Tony Levin on upright bass. Once again, a man of few words, Gleb let his fingers do all the talking on this magical twenty-five minute set loosener, before joining forces for the final part of the evening, with his Iamthemorning partner in crime, Marjana.

After a very short break, the reunited Iamthemorning reappeared alongside Marjana's full band from the first set, playing bass, guitar and drums. A different set up to when I saw them at the Courtyard Theatre, when they were accompanied by a percussionist and cello player, shortly after the release of their last studio album 'The Bell'. Opening with the very emotional 'Scotland', from their curiously named first album '~' (2012), their palpable chemistry was immediately evident, without a bagpipe in sight, before they delved into their third album and 2016 award-winning Progressive Music Awards Album of the Year, 'Lighthouse', and 'Too Many Years' with its Evanescence vibe reinforced by the full band.

Semkina continued her dark humour, citing that the next song was one of her favourites, all about electric shock therapy, cue the lovely Chamber Pop of 'To Human Misery', first released on their 2014 EP, 'Miscellany', that had it all, including a wonderful guitar solo, plus the beauty of Marjana's voice as she floated up and down the church aisle with her red hair flowing, as well as an equally magnificent piano solo from Gleb. The jazzy harmonies of 'Chalk and Coal' continued the subject matter of misery, albeit that this track originally featured Porcupine Tree's Gavin Harrison on drums and Colin Edwin on bass.

Two further tracks from 'Lighthouse' followed. The happily entitled (of course) Mike Oldfield/Steven Wilson influenced eargasm, 'Sleeping Pills', that saw Marjana's haunting vocal equally matched by another perfect solo from Gleb, while the theatrical soiree and intense tango vibe of 'Libretto Horror', was complemented by a mesmerising Enya like vocal from Semkina. The first track of the night taken from their 2014 sophomore album, 'Belighted' was the raw and powerful 'Os Lunatum', all about, you've guessed it, a dead girl, that built to a great climax, and a microcosm truly befitting a memorable set, given Marjana had promised not to talk too much tonight, as she made up for it with another captivating vocal.

Moving on to three successive tracks from their last album, 'The Bell' (2019), that deservedly received worldwide praise from media and fans alike for its modern blend of Rock, Classical and Folk, Semkina's sweet vocal hit the spot on 'Sleeping Beauty', which ultimately segued into the stunningly beautiful composition. 'Blue Sea', before the gorgeous, artful, haunting, powerful and melancholic 'Freak Show', which, understandably, was well and truly received by an appreciative audience.

At last - from dead girls and misery - to the only interactively happy song on the night - '5/4' - the Iamthemorning faithful needing no prompting as when to clap along to this gorgeous waltz of a track - with Semkina once again demonstrating her captivating theatrics, which was followed by another from 'Belighted', the powerfully constructed Progressive Rock of 'K.O.S.', the set closer that totally justified the audience's rapturous applause and understandable demands for an encore.

Cue the slightly more up-tempo, 'Ghost Of A Story', from 'The Bell', further proof, if you needed it, not only of their prowess as musicians and writers/composers, but also the parallels that the effervescent Marjana undoubtedly has with Kate Bush, as both a vocalist and a performer.

If you have not witnessed Iamthemorning before, then I urge you to see them. If you have not listened to them before, then a good starting point would be their 2018 'Ocean Sounds' unplugged sessions album, that, barring 'The Bell', covers most of the tracks played tonight. Certainly a duo that are more than the sum of its parts, dedicated to writing forward-thinking and thought-provoking music, although some new material would be undoubtedly welcome too. Just saying.

AJ

Photos: Bryan Taylor