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The Guardian newspaper occasionally includes a reference to prog - I suspect a couple of the writers are closet fans - but I was surprised when an edition earlier this month had two references: an article about Kate Bush and another about how rock musicians shouldn't have dabbled with disco...

By ProgBlog, Jan 1 2019 05:22PM

2018. A year like no other, with global politics stooping to a new nadir as so-called world leaders lie, cheat and bully their way through life. I’ve always tended towards optimism, which is one of the reasons I have an affinity for progressive rock, but when humanity is fast-approaching the point where man-made climate change is going to have irreversible, accelerated effects on the biosphere and some of the largest economies in the world argue about the wording of a document at the end of the (extended) COP24 Climate Conference in Katowice relating to the implementation of the 2015 Paris agreement, I may have reached my personal tipping point. For the US, Russia, Saudi Arabia and Kuwait, with tacit encouragement from Australia and Brazil, joining forces to prevent the conference fully embracing the Intergovernmental Panel on Climate Change (IPCC) findings that any warming of above 1.5oC of pre-industrial levels would be disastrous for many species seems criminal to me. As forest fires rage across California and Australia and Japan once again break their local temperature records, it’s time surely for anyone with children or grandchildren to think globally and, at the earliest opportunity, use the ballot box to facilitate change.


The Guardian headline 15 December 2018
The Guardian headline 15 December 2018

Change appears to be the kryptonite of anyone with a vested interest. Colonial expansion allowed Europeans to profit from indigenous mineral wealth with little or no trickle-down benefit for locals (usually the opposite); the dirty energy that fuelled the industrial revolution made a small number of people very rich; the sell-off of former Soviet state industries made a smaller number of people super-wealthy; now our fondness for technology has created an even smaller group of unimaginably rich who are responsible for the way we get our information. I’m not going to deny that there’s no philanthropic disbursement of funds but however well-founded donations are, there’s always a return for the sponsor through free advertising and access to political power, and even something as outwardly benign as the Bill and Melinda Gates Foundation has come under scrutiny for purportedly cornering the market on global health issues. Thanks to some stunning work by the International Consortium of Investigative Journalists (ICIJ), it has been revealed that the accumulation of wealth by a limited proportion of the global population, including politicians, is driven by self-interest and that they utilise schemes which although falling within the letter of the law, are actually complex constructs to preserve that wealth and ergo, influence or power. The employment of offshore structures is the equivalent of smoke and mirrors, a device to distract and confuse and ultimately avoid transparency; the influence is exerted to avoid regulation, the same red tape that might have prevented the Bhopal disaster, the Sandoz chemical spill, the Deepwater Horizon explosion, the Fukushima Daiichi nuclear disaster, the Flint, Michigan water crisis and many others. There’s a salutary lesson here: cutting regulations may save you money, but cutting costs may cost lives.


Climate change appears to be rather low on the UK government’s list of priorities, along with rising homelessness and providing appropriate care for the elderly, those with disabilities and the unwell. Currently paralysed in a mess of her own making, bounded by red lines and surrounded by a party disunited over Europe, the Prime Minister continues to rely on DUP MPs to hold the government together even as she decries almost half of the population who voted to remain in the EU as undemocratic for suggesting a second referendum; her pro-Brexit allies from Northern Ireland don’t actually represent the majority ‘remain’ sentiment to be found in the province but she continues to allow them to hold her to ransom. It’s easy for critics of Jeremy Corbyn to lambast him for not holding Theresa May fully to account for her Brexit bungling but there are some equally pressing issues which, if satisfactorily addressed, might persuade those who voted to leave that their voice is being heard and that there was nothing to gain from leaving the EU. If May had taken more of a consensus approach to work out the best solution for the country and not attempted the impossible, the reconciliation of the pro- and anti-Europe wings of the Conservative party, the UK might not be three months away from the worst possible scenario – no deal.


Extrapolating from what I’ve seen in Prog magazine and in tweets posted by the individuals I follow on Twitter, I imagine that the majority of UK prog musicians are in favour of remaining within the EU. The challenge of restriction to movement throughout Europe effectively putting a kibosh on touring the mainland continent for all but the best resourced bands by erecting barriers to seamless touring not seen since the early 1970s, cutting off a previously accessible market. The reciprocal arrangement will undoubtedly deter artists from some of our former EU partners from gigging in the UK. The following argument could be made by not only anyone who has enjoyed the benefits of cheap intracontinental travel but by NHS senior managers, hoteliers and other owners of hospitality, catering or drinks businesses, even farmers requiring a large seasonal workforce; any restriction or barrier to EU citizens working in the UK is going to have an adverse effect on our daily lives, whether that’s longer waiting times in hospitals, no one to staff care homes for our elderly relatives, food shortages and concomitant rising prices, or just finding it harder to enjoy a night out. Doesn’t that make us look grown-up?

The Brexit-fantasy nostalgia even puts my infatuation with 70’s prog in the shade. I resent the barriers being erected that will inconvenience me on my quest to witness the last few classic progressivo Italiano bands I’ve not yet seen, and flourishing my blue UK passport at the end of a slow-moving immigration queue at Genoa’s Cristoforo Colombo airport isn’t actually something I’m going to feel proud about.


2018 did turn out to be good for one thing; the number of concerts I managed to attend (22) was the most I’ve ever managed in a year; I had thought 2017 was busy with 14 (that’s including two days in Genoa for the Porto Antico Prog Fest and five nights in Rome for the Progressivamente festival.) At times it felt as though I was chasing gigs and was certainly flagging by the end of March. Having recommenced semi-retirement towards the end of 2017, it became easier to take extended weekend breaks so on my return from a midweek skiing trip to Chamonix in early January I discovered that Banco del Mutuo Soccorso had a gig in Brescia the following week which, thanks to its proximity to Milan, made travel arrangements relatively easy.


ProgBlog's list of gigs, 2018
ProgBlog's list of gigs, 2018

The true gig marathon began on the 23rd March with my second venture to the Fabio Zuffanti-organised Z-Fest in Milan and ended with my first attendance at a Tangerine Dream performance at the Union Chapel, Islington, on 23rd April. Between those dates I got to see Yes at the Palladium, the first of Steven Wilson’s three nights’ residency at the Royal Albert Hall, had a week skiing in Austria after which I dropped off my gear and immediately headed out to the ESP 22 Layers of Sunlight launch party at the Half Moon, Putney, and flew off to Brescia again, this time for another classic Italian prog band, Le Orme, who were augmented by David Cross on violin. The complexities of getting back the hotel from some of these Italian venues can be something of a logistical nightmare after public transport has shut down for the night. Walking the streets of Genoa after a show poses no threat when the club or theatre is in the heart of the city but the 11km between L’ Angelo Azzurro and the NH Genova Centro, though only a 90 minute walk at most, might not be the best idea at 2am. I am deeply indebted to Marina Montobbio for arranging my lift back from an excellent gig. BMS at Brescia would have been less problematic if I hadn’t followed my wife’s instructions not to use public transport to get back to our hotel. Circolo Colony, the venue for the show, was hidden away on an industrial estate about 20 minutes walk from the light rail terminus to the east of the city. Though the last train was scheduled for 1am, the walk to the station would have involved a section behind the Armco protection from a dual carriageway, so I was told to get a taxi. I had pre-programmed a mobile phone app to get my return cab but despatch phoned me to tell me nothing was available at the time I requested, 00:45am, and the last taxi was at midnight. Apart from missing a chunk of the BMS set, I had to hang around the car park for almost half an hour and had to phone the company to ask where the driver was. When he appeared, it turned out that he was familiar with progressive rock so the journey back to the hotel wasn’t unpleasant. On my return to the city three months later I’d worked out not to bother trying to pre-book a return taxi journey. I made a note of where the taxi dropped me off on the way to the Brixia Forum, returned to that spot at the conclusion of the performance, and called a taxi; mine was the third to arrive. As a result of making the trip for the BMS gig, I was able to explore more of Italy. I really like Brescia with its three record stores (special mention has to go to Kandinski, Via Tartaglia 49c, 25100 Brescia) but it also hosts a UNESCO World Heritage site and the railway provides easy access to other cities including Cremona, and to Lake Garda.


While the variety of live events I attended spanned the inaugural local electronica festival (part three of Palace Electrics was held at Antenna Studios, Crystal Palace and included an interpretation of Steve Reich’s Pendulum Music) to Camel at the Royal Albert Hall and the fabulous Lucca Summer Festival for an outdoor experience of King Crimson, I was also being exposed to a lot more music that I’d describe as being outside my comfort zone. Requests for me to review new music, which came from all parts of the prog spectrum, led to the creation of a new section on the ProgBlog website, DISCovery, which had the aim of exposing new artists to a wider audience. So far it has featured a diverse range of styles including classic Floyd-like soundscape prog, pop-prog, prog with a metal bias, and RIO-inflicted free jazz.

I hope that my contribution to the prog world, however small, inspires someone to go out and explore, whether that’s just the sonic adventure of trying something new or a geographical quest to unearth the inspiration behind the music, where an understanding of physical and cultural artefacts help to piece the world together. 2019 certainly needs everyone to display a little more understanding.


Wishing everyone a peaceful new year.







By ProgBlog, May 19 2018 08:29PM

If you choose to go to a pub, which will more likely than not be showing some desperately important sporting event and could, theoretically, be showing more than one, you know that the combined volume of the clientele, competing with televised commentary, is going to make casual conversation with your mates somewhat difficult; this is to be expected. Similarly, you don’t go to a football match for serenity or a quiet chat. My team, Crystal Palace are well known for their vociferous supporters and the atmosphere at Selhurst Park is acknowledged as being one of the best in the Premier League; even Palace’s away support is regarded as acting as a twelfth man. Having realistically secured continued top-flight status with a couple of games to spare before the end of the season, our final match of 2017-18 last Sunday, against already relegated West Bromwich Albion was free of nerves for both the fans and the players, so the crowd behaviour was loud and uninhibited. On this occasion too, the Baggies fans were splendid, corrupting a well-known chant to ‘Que sera, sera, whatever will be, will be. We’re going to Shrewsbury...’


Crystal Palace vs West Bromwich Albion 13.05.18
Crystal Palace vs West Bromwich Albion 13.05.18

I had always thought that you go to a gig for the music but it’s becoming increasingly evident that not everyone thinks that way. A comment in the Paper Late column in Prog magazine (Prog 87) nicely illustrated that the matter is getting seriously out-of-hand and, in my experience, it doesn’t matter what form the venue takes whether that’s the Royal Festival Hall, the Royal Albert Hall, the Shepherd’s Bush Empire or some small club on the outskirts of some Italian city.


My first experience of irritating mid-gig conversationalists where I genuinely couldn’t concentrate on the music was at one of London’s hippest venues, the Shepherd’s Bush Empire, where I’d gone to see a double bill of Caravan and Curved Air in October 2011. Part of the problem was that I was in the unreserved seating on the third level where the proprietors had deemed it sensible to install a bar. This meant that there was a steady stream of punters going up to buy drinks joining those who had taken up positions from which to survey the proceedings while enjoying their beers, and to talk loudly. Noise from the bar at the Troxy (Steven Wilson, March 2015) also dented my enthusiasm, making me wish that all venues would restrict sales of drinks to an area outside the auditorium. Even this contingency is not enough to eliminate idle chat; there are a number of bars outside the concert halls at the Royal Festival and Royal Albert Halls, but sitting next to me at the Dweezil Zappa performance (RFH, October 2017) were a couple of Zappa experts who were unable to let the music speak for itself, providing a running commentary and critique and dulling my enjoyment.


The gig fatigue I experienced at the end of March this year, following a weekend in Milan with a late-running event on the Friday and a dash back to London for Yes on the Sunday, culminated in a disappointing show from Steven Wilson at the Royal Albert Hall on the Tuesday. After that Troxy gig, I’m wondering if Wilson attracts loudmouths to his shows, willing to pay a not insubstantial sum for their seats but who don’t seem to be very bothered with the music, the spectacle, or those around them who do want to watch and listen. My companion on that particular occasion, someone I wouldn’t describe as harbouring violent thoughts, did confess that he wanted to punch the guilty pair seated behind us but rationality prevailed and, after a word to one of them during the interval, the second set was largely comment-free. On the other hand, having any number of bars outside the hall does not prohibit concert-goers from becoming inebriated either before or during the performance, irritatingly demonstrated by a couple immediately in front of me at the same Steven Wilson show.


Large venues make money from ticket pricing and inflated food and drink charges; small venues like The Half Moon, Putney tend to have moderate pricing for tickets. ESP 2.0 last month cost a very reasonable £10 in advance (£12 on the door) and charged normal London beer prices; a couple of the clubs I’ve attended in Italy seem to mark-up the cost of a drink so that you’re paying a little more than you would in a local bar without music, though the admission charge for two, three or even four bands is exceptionally good, ranging from €10 - €15.


Most of the more intimate gigs I attend, both at home and in Italy are in pubs or clubs where there is no physical barrier between the bar and the stage and with only the rare exception the audience is content to listen. After the Palace match it was straight up to the Fiddler’s Elbow for a prog night, organised by Malcolm Galloway of Hats Off Gentlemen It’s Adequate, one of three bands on the bill (the others being Servants of Science and The Tirith); fortunately the crowd was only there for the music, because the stage area and the bar were only a few metres apart.



It was my first visit to the Grade II listed venue (the building dates back to 1856), even though it has been putting on gigs since the 1970s. It’s co-owned by Dan Maiden, a musician and promoter, and local businesswoman Nancy Wild who pride themselves on their professional approach, offering a platform for unsigned music and acting as a showcase for up-and-coming talent. It’s fair to say that both Servants of Science (based in Brighton) and Hats Off Gentlemen It’s Adequate are relatively new to the scene; the former released a widely acclaimed album The Swan Song at the end of last year and HOGIA have somehow managed to put out three CDs since they formed: Invisible (2012); When the Kill Code Fails (2015); and Broken but Still Standing (2017). Their 2015 offering won plaudits from Steve Hackett but the writing shifted from post-rock towards prog on Broken, where the first fifteen minutes includes some stunning flute, putting it firmly in the prog category – they also featured on the covermount CD of the latest edition of Prog magazine (Prog 87) with Last Man on the Moon. The Tirith have been around since the very early 70s when they were called Minas Tirith and, after going their separate ways (though keeping in touch), they reformed in 2011 and released Tales from the Tower, which included reworkings of some of their early material, in 2015. Shortly after their reformation, the three-piece (Tim Cox, guitar/keyboards; Dick Cory, bass/vocals and Paul Williams, drums) acted as support for Focus in Leicester but by the time of the CD release, Carl Nightingale had taken over on drums. They played at last year’s HRH Prog VI (where HOGIA also appeared, parachuted in to fill a slot vacated by Touchstone) but I’d seen them previously, at the Resonance Festival in 2014, where I described them as being a bit unadventurous; I’m not sure that it’s possible for a guitar-bass-drums trio to be prog, though Cox did elicit some interesting sounds out of his guitar and occasional keyboard.


On this particular Prog Night Servants of Science were first on stage, playing through The Swan Song in its entirety. The album is based on a few musical ideas from keyboard player/guitarist Stuart Avis which were bounced off and added to by bassist Andy Bay. Avis turned to long-term collaborator Neil Beards (The Amber Herd) to add vocals then, through his studio connections he recruited Helena DeLuca on vocals when a female part was added to the story, drummer Adam McKee and guitarist Ian Brocken. The live recreation was pretty faithful to the album, with the Floydian Another Day and the mini-epic Burning in the Cold which best demonstrate the band’s prog-leanings, bookending the set. They even had time for an encore of Comfortably Numb, wearing their influences on their sleeves. My only complaint would be that with four guitars playing simultaneously the subtlety and sweeping cinematic feel of the record became a bit blunted; even Brocken’s solo during the encore was too low down in the mix, meaning you could barely discern it above the other players; the one instrument that cut through the wall of sound was the bass. However, despite being a bit loud for the venue, I did enjoy the performance and it cements the ensemble as being a group to watch out for.



I didn’t get to see The Tirith play, having a very early start the next day, and I nearly missed Hats Off Gentlemen, being forced away from the pub to find some hot food. When I saw them at the beginning of the year only 40% of HOGIA, that is Malcolm Galloway and Mark Gatland performed, aided by a rhythm machine, a small keyboard and lots of effects which was still quite impressive. This time 60% of the band was present, with Kathryn Thomas providing that amazing flute and backing vocals, though she didn’t stay on stage for the whole set. It’s quite remarkable what the two or three of them can do with loops, effects and a drum machine which put the performance at a level close to that on the recent album; what you don’t get on the CD is the incredible punk-like energy Galloway and especially Gatland project. Opening with the dreamy prog of Vent/Almost Familiar HOGIA are another band who aren’t afraid to semaphore their influences and when it gets towards the end of their slot, Galloway pulls off an excellent Gilmour-like solo on Last Man on the Moon... ...but it’s the flute that I love the most!



Palace won 2-0 and this was followed by a night of prog. Hardly peaceful, but a totally enjoyable Sunday.









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