The trip also took in the valedictory running of Blake's 52More Score #10, and a celebration of Terminalia 2022, both of which are detailed elsewhere.
This trio that has been playing together for ... err ... 54 years so we needn't be surprised at a very polished show. There's no doubt that the absence of a saxophone left a saxophone shaped hole where a saxophone ought to be, but they rang the changes rather well. Having been unfairly tarred with the "prog" label, they managed to dip toes in quite a range of genres, and the man's voice has lost none of its power and almost none of its range. A very few imprecisions, but hey - that's why you go to hear people live.
It tells you something that they didn't play any of Killer, Man Erg or A plague of lighthouse keepers - they have quite a songbook to choose from. For this reviewer, Scorched Earth was the standout. The setlist is at setlist.fm.
Hammill and Fripp are part of a generation - I believe they get on well together. In contrast to the lip-zipped Fripp, Hammill was happy to banter. Pausing for an interval he noted "It's quiet when it stops, isn't it?"
I think the jury is out on which of VdGG's albums is most memorable/influential/best but it's inquitous to compare stuff released in the 21st century with that from over 50 years ago. From early days, it's hard to better Pawn Hearts[1], but my introduction to all this was in Pat's back room and H to He, whereat I first met the proton-proton fusion reaction. In preparation for the gig, I chose to manufacture my own merchandise by customising a black hoodie thus
I think this all worked rather well, even if it does undermine the principle of bands selling massively overpriced garments at their pension fund boosting gigs.[1] Pawn Hearts, wherefrom Man Erg. How well known is it that this synchronises wonderfully with Buñuel's Un Chien Andalou? Check it out.
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