Gig Review: The Neal Morse Band + Beardfish at Islington Assembly Rooms, 7th March 2015

Saturday night’s concert is one that has been met with a lot of controversy already. Mike Portnoy fell ill during the day, was taken to hospital, posted a controversial Facebook update, and played the gig without having medical attention. It’s taken me until now (a couple of days later) to appreciate the whole story; when I was there I just wanted the gig to go ahead, nothing else. I can see how it might be taken that Portnoy’s message was rude and diva-like, but whatever you think, the man is dedicated and a trooper. He played that show note perfect with as much enthusiasm as I’ve ever seen him, even though he looked in pain the whole way through and was even wearing thermals. So Mike Portnoy, you have my approval for that gig.

Anyway, onto the actual review.

The beautiful London weather, while obviously not a good omen for things to come, was an absolute blessing to be queuing in. I like to get there early to chat to people and get to the front and in the past I’ve been miserably dripping in the rain, but not last Saturday. It put everyone in a good mood, even when we were told about the delay. The gig was 45 minutes late, but there didn’t seem to be any restlessness among the crowd, and Beardfish were met with a resounding roar. They began with three tracks from their latest album +4626-COMFORTZONE (yeah, I dunno) which I think blew me and most of the crowd away. Their on stage presence is so fun, especially the bassist – a Viking-type guy who seems to glide around the stage on his socks – and the singer, effortlessly switching instruments and dynamics.

They played a couple of older tracks and finished with the amazing ‘Ludwig and Sverker’. The song deals with the singer’s stillborn children – I don’t know how he manages to sing it without breaking down – and is potentially their best. It was a blinding performance and left a lot for the Neal Morse Band to live up to.

Still nervous about Portnoy, which was only exacerbated by the shaking heads and glum looks of the road crew, I really wasn’t sure how the gig was going to go. But as the lights went down, the band took to the stage, and the first few bars of ‘The Call’ rang out through the hall, I knew we were in for a special time. Like I said, Mike looked visibly pained but listening to his performance you wouldn’t have believed there was anything wrong. ‘The Call’ is a vocally demanding song from most members of the band, but it was executed perfectly, and the entire thing was possibly the best opener to a concert I’ve seen.

They followed it with the quirky ‘Leviathan’, complete with a sneeze from Portnoy, and ‘The Grand Experiment’, the first single from the new album of the same name. The album has definitely grown on me – I think it could be one of his best, bar ‘Agenda’ which they didn’t play – and the songs translated really well live. The audience seemed to be well versed in all the lyrics and had a great time. Some people behind me were dancing for the entire show.

After an amazing performance of Spock’s Beard deep cut ‘Harm’s Way’, Bill Hubauer – amazing multi-instrumentalist – was put briefly in the spotlight for an impressive keyboard solo in which he teased the next (and possibly best) song: ‘The Creation’. This is easily one of my favourite Neal Morse songs and it’s always been a dream to see it live. Let me tell you, it did not disappoint. It’s a 20 minute tour-de-force of progressive genius, twisting and turning, with a massive epic ending. It’s pretty much perfect and everyone played impeccably. I was stood in front of Eric Gillette who was really impressive to watch throughout the show.

Things took a turn for the mellower as Neal was left alone on the stage to play a song solo, which according to Mike he just learned in the car to the hospital. He’s been playing a different song each night of the tour, and we were treated to ‘Shine’ from Transatlantic’s latest Kaleidoscope. It was a special moment and the whole crowd helped out on vocals. The others then joined him for a lovely performance of ‘Waterfall’. Bill Hubauer really shines on this track with his clarinet solo and rich vocals.

The last song of the night (they were running too late to play the usual encore) was the obligatory epic from the latest album: Alive Again. While ‘The Creation’ may be a slightly better song, this was the performance to end all performances of the night. Complete with a middle instrument swap section where Eric played a shredding drum solo and Randy George showed off his guitar and keyboard prowess, in which even Mike pulled himself from behind the kit to take over bass duties. It was a great moment and it was clear that these guys are really doing it because they love playing. The ‘Man Inside’ section with Bill on lead vocals segueing into the final epic crescendo was the highlight of the night for me and an amazing end to an amazing gig.

Neal himself was on absolutely top form throughout, both vocally and stage presence wise. He’s a compelling frontman and, backed with this band, definitely one of the best artists out there.


Gig Review: Anathema at Leeds Minster, 4th March 2015

Anathema are the first band ever to have played a gig at Leeds Minster, and walking into it I wasn’t surprised – it didn’t seem a venue that would lend itself to a live band. The seating was only five-wide in the main ‘stalls’ and went back a good distance. I was lucky enough to be sat about five rows back, but even so my view wasn’t great.


That said, the setting was absolutely beautiful, the acoustics were great, and I soon got used to the less that ordinary seating set up. The support act for the night was prog violinist extraordinaire Anna Phoebe accompanied by acoustic guitar. The fantastic arrangements, exquisite playing from both parties, with open chords resonating throughout the church, along with Spanish and Middle Eastern influences, provided an interesting, enjoyable, if a bit short set. Someone I’ll definitely be checking out on record.

Anathema began a special evening with The Beatles’ ‘Because’ accompanied by a minimalist light show, followed by ‘The Lost Song Part 2’ from their latest release Distant Satellites. As this was an acoustic evening, there was no bombastic introduction to their set, which set the subdued tone well for the rest of the night. A near flawless performance of set-staples ‘Untouchable Parts 1 and 2’ followed, introducing us to the incredible vocals and emotion that Anathema are so revered for. The stripped down acoustic-ness of the evening did not detract from the songs, and was especially effective in ‘Dreaming Light’, one of the early highlights for me. A slightly different arrangement and some gorgeous guitar playing and singing combined to make a truly sublime rendition of one of my favourite Anathema tracks.

I wondered how they would tackle some of the songs acoustically, ‘Anathema’ in particular, but I needn’t have worried. With added bass, percussion and cello, and with Danny behind a keyboard, it was almost better than the studio recording. Without the flashiness of the guitar solo, all the instruments worked together to create a multi-layered crescendo which received one of the loudest cheers of the night.


After playing a couple of tracks from their earlier days, they played a few newer ones before ending the main set with an amazing performance of ‘Distant Satellites’ followed by ‘Take Shelter’, another highlight for me. The set was heavily based around Danny’s loop pedal, and the ending of ‘Take Shelter’ was left to play on as they left the stage which was a special moment. A somewhat surprising performance (for me) of ‘Internal Landscapes’ started the encore. It’s one of my favourite Anathema tracks but somehow I wouldn’t expect them to play it live. It lent itself incredibly to an acoustic performance, and Vinny’s vocals towards the end proved how incredible a singer he is. Classic tracks ‘A Natural Disaster’ and ‘Fragile Dreams’ (complete with some frisson-inducing mirror ball lights) ended the show, and a standing ovation saw them off the stage.


My only qualm with what was truly a special concert was the fact that Danny seemed quite nervous with the loop pedal, and kept telling the audience so! I’m not sure if it was just me, but when someone introduces a song with “I hope I don’t mess this one up”, it makes you listen out for the mistakes they may or may not make (and there were a couple). Hopefully he’ll have ironed out all his worries and mistakes by the time they film their Liverpool show. I’d also like to thank the lady in front of me for watching 90% of the show through her phone screen held above her head, I’m sure you had a great time.


The Lost Song Part 2
Untouchable Part 1
Untouchable Part 2
Dreaming Light
Thin Air
Temporary Peace
Ariel (which I found out is pronounced ‘arielle’, not like a TV aerial, the more you know…)
The Beginning and the End
Distant Satellites
Take Shelter


Internal Landscapes
A Natural Disaster
Fragile Dreams

Album Review: Neal Morse – The Grand Experiment (2015)

I have to admit, after the music Neal Morse has put out over the last few years, I wasn’t as excited for The Grand Experiment as perhaps I should have been. This isn’t, however, a comment on the quality of the music (which has been generally ridiculously high), but rather the sheer amount of it. Flying Colors’ Second Nature, Transatlantic’s Kaleidoscope, a solo singer-songwriter album, and numerous tours with all his bands don’t leave much time for a new solo prog album, which given the circumstances has come around alarmingly quickly.

I also felt that his last prog album, Momentum, while being a very good album, did not quite reach the highs of such albums as One, Sola Scriptura, or ?. I’m starting to wonder if it was good not coming in with huge expectations, as the album may have disappointed me slightly. As it wasn’t the case, I’m impressed with the album and while it still doesn’t rank amongst his best, it’s a solid prog album and one that shows that Morse isn’t afraid to venture into new territory, and that he certainly hasn’t stagnated.

The main difference between this album and his other prog efforts is that this is the first Neal Morse Band album; it features musicians Bill Hubauer, Eric Gillette, as well as ol’ faithfuls Mike Portnoy and Randy George. For the first time, Neal Morse went into the studio with little to no material pre-written and The Grand Experiment is a wholly collaborative effort. I feel that this brings both advantages and disadvantages. It’s very refreshing to hear new voices in the music, and Hubauer and Gillette are both given a lot of air time, leading whole sections of songs. The harmonies, too, sound much better, much fuller. Maybe it’s because I’m too used to Morse’s style, but the instrumental sections in the longer songs haven’t wowed me as much as they have on other albums, but I’ve not listened to the album enough to be able to pick up on the little nuances and I’m sure they’ll grow on me. Maybe seeing them live will help. This isn’t to say that they aren’t impressive, though. The musicianship on the record is astounding and Portnoy, who I also feel has stagnated somewhat when it comes to prog music, genuinely shines on the album. He has a tendency for, as my dad puts it, ‘too much drumming’. But I feel on this album there is just the right amount, and it’s creative, different, and at times mind-blowing.

‘The Call’ opens the album in a slightly unconventional manner with a rich, harmonised acapella section. This section is repeated again towards the end of the track, which is one of my personal highlights on the album and harks back to ‘Thoughts Pt. 2’ from Spock’s Beard’s V. ‘The Call’ is a solid track and a great album opener, almost bookending the album along with obligatory epic ‘Alive Again’. I was wary of the epic track because of the formulaic and over-long nature of World Without End, but perhaps with the help of new resident band members, ‘Alive Again’ feels fresh and doesn’t follow ‘epic’ convention as some are wont to do. All members are given a chance to shine, instrumentally and vocally, and this will surely be an amazing way to close a concert. The middle three shorter tracks have some of the strongest and weakest moments. First single and title track ‘The Grand Experiment’ is a punchy and catchy rock song and my favourite of the three. Unfortunately ‘Agenda’ doesn’t grip me as much and is clearly the weakest track on the album. That said, it’s very very catchy and I already find myself humming it, so maybe it’s not so bad. ‘Waterfall’ is a beautiful ballad, one which will fit snugly into Neal’s back catalogue, alongside ‘Cradle to the Grave’, ‘We All Need Some Light’, ‘Children of the Chosen’ et al.

I’m very much a prog listener of the modern generation; I’ve never properly got into Genesis, Yes, Gentle Giant…the big prog names. I was introduced to prog through Marillion, Dream Theater, Transatlantic and Spock’s Beard. That said, many comparisons have been made to Neal Morse with these older prog bands, and that ‘retro’ sound is definitely clear to me on this album.

All in all, this album may not be Morse’s best, but it’s not his worst, and it’s made me thoroughly excited to catch him on his upcoming tour. It’s also worth noting the second disc of the special edition features the amazing track ‘New Jerusalem (Freedom is Coming)’, and live versions of ‘The Creation’ and ‘Reunion’ from One, recorded at MorseFest which are definitely also worth a listen. These last two, unfortunately, remind me just how good Morse can be at his best.

Standout tracks: The Call, Waterfall, Alive Again