Just a few personal favourites from 2016…..
1. STEVE HACKETT – The Total Experience Live In Liverpool
2. BIG BIG TRAIN – A Stone’s Throw From The Line
3. IQ – Live On The Road Of Bones
4. KING CRIMSON – Radical Action (To Unseat The Hold Of Monkey Mind)
5. STICK MEN – Midori
Progressive Music Review’s pick of the Top 5 Reissues for 2016.
1. YES – Tales From Topographic Oceans
2. KING CRIMSON – On (And Off) The Road
3. TANGERINE DREAM – The Official Bootleg Series Volume Two
4. ANTHONY PHILLIPS – Wise After The Event
5. HAWKWIND – The Charisma Years
1 BIG BIG TRAIN – Folklore
2 MARILLION – F.E.A.R.
3 HAKEN – Affinity
4 RIVERSIDE – Eye Of The Soundscape
5 THANK YOU SCIENTIST – Stranger Heads Prevail
6 SYD ARTHUR – Apricity
7 STEVEN WILSON – 4 1/2
8 VAN DER GRAAF GENERATOR – Do Not Disturb
9 STICK MEN – Prog Noir
10 OPETH – Sorceress
Recorded at the band’s sold out shows at London’s Kings Place in August 2015, ‘A Stone’s Throw From The Line’ documents Big Big Train’s return to the live stage after a 17 year absence. Review and photos by Tim Darbyshire.
Recorded over three nights (August 14th – 16th), each song performed over the three night residency is represented here, in the order they were played on this double cd. Such was the success of Big Big Train’s return to the live arena that they were awarded Prog Magazine’s prestigious ‘Live Event of the Year’ award.
Since the addition of vocalist David Longdon and drummer Nick D’Virgillo in 2009, Big Big Train have seen a welcome upturn in their fortunes. ‘The Underfall Yard’ (2009) and ‘English Electric Part One/Part Two’ (2012/13) have helped to expose the band to a wider audience. In 2014 it was decided they would plan for some live gigs, so the band assembled at Peter Gabriel’s Real World studios – some of them meeting each other for the first time – to see how their complex studio arrangements translated to the live environment. (This was captured on the 2016 blu-ray ‘Stone And Steel’).
Live, the band comprises founding members Greg Spawton (bass, backing vocals) and Andy Poole (guitars, bass, keyboards) along with Danny Manners (keyboards, double bass, backing vocals), David Longdon (lead vocals, flute, banjo, percussion), Rikard Sjöblom (guitars, keyboards, backing vocals), Nick D’Virgilio (drums, backing vocals), Dave Gregory (guitars, piano, backing vocals) and Rachel Hall (violin, backing vocals). An additional five piece brass ensemble brings the number of musicians on stage up to a healthy thirteen! (Dave Desmond – trombone, Ben Godfrey – trumpet and cornet, Nick Stones – french horn, John Storey – euphonium and Mike Poyser – tuba).
The setlist is not surprisingly dominated by songs from ‘English Electric’ (2012/13) and ‘The Underfall Yard’ (2009). ‘Wassail’ from the then unreleased ‘Folklore’ also gets an outing. Big Big Train are quintessentially English and take us on a two hour plus story-telling journey pinned by the epic ‘The Underfall Yard’ and the spectacular ‘East Coast Racer’. The musicianship is exemplary, providing the perfect backdrop for David Longdon’s passionate vocal performance. The band thrill their audiences with an eclectic array of dazzling melodies (‘Hedgerow’), crazy rhythms and time signatures (‘Judas Unrepentant’) and soaring emotional songs (‘Curator Of Butterflies’), fully utilising the wide sound palette available to them.
The sound quality of the live recording is very good of course – recorded and mixed by long time band collaborator Rob Aubrey – and it’s a given that any Big Big Train fan should buy this release. As an introduction to the band though, I’d recommend ‘English Electric’ (recently remastered and repackaged), for the full lush studio experience.
Since these concerts, the band have released ‘Folklore’ – which is many people’s album of 2016 – and have announced three shows for late September 2017 at London’s Cadogan Hall, and at the time of writing some tickets remain for the last show.
The album comes in a gloss, laminated soft pack with a 40-page booklet and maintains the standard of high quality presentation we’ve come to expect from Big Big Train.
‘A Stone’s Throw From The Line’ is available now from The Merch Desk and Burning Shed
Full track listing:
CD1
Make Some Noise
The First Rebreather
The Underfall Yard
Uncle Jack
Victorian Brickwork
CD2
Kingmaker
Wassail
Summoned By Bells
Judas Unrepentant
Curator Of Butterflies
East Coast Racer
Hedgerow
Steve Hackett’s new studio album is called ‘The Night Siren’ and will be released by Inside Out Music on March 24th 2017……..
Steve discusses the new album and forthcoming tour here.
The official press release below is taken from HackettSongs.com :
Guitar virtuoso and rock legend, Steve Hackett (formerly of Genesis), releases his latest album The Night Siren on 24th March 2017 through InsideOut Music (Sony). As implied in the title, The Night Siren is a wake-up call… the warning of a siren sounding in this era of strife and division.
The Night Siren showcases Steve’s incredible guitar playing as strongly as ever, along with regular Hackett collaborators and also musicians from several different countries who Steve invited to join him in celebrating multicultural diversity and unity. This includes singers from Israel and Palestine, who both actively campaign to bring Jewish and Arabic people together. There are also instrumentals from the USA and Iraq and a multiplicity of sounds, including the exotic strains of Indian sitar and Middle Eastern tar and oud, the ethnic beauty of the Peruvian charango and the haunting Celtic Uilleann pipes.
Steve is widely travelled, making friends everywhere he goes and has always embraced multicultural diversity. In these times of unrest, he has been inspired to express his belief that the world needs more empathy and unity. His wish to involve a range of musical sounds, instruments, musicians and singers from different parts of the world is both a development of his eclectic approach to music and shows how people can be brought together, even from war torn regions.
Talking about his latest work, Steve says, “This latest waxing represents a bird’s eye view of the world of a musical migrant ignoring borders and celebrating our common ancestry with a unity of spirit, featuring musicians, singers and instruments from all over the world. From territorial frontiers to walled-up gateways, boundaries often hold back the tide. But while the night siren wails, music breaches all defences. To quote Plato, ‘When the music changes, the walls of the city shake’.”
The musical journey takes us from ‘Behind the Smoke’, focusing on the plight of refugees throughout the ages, to the penultimate track ‘West to East’ which reflects on the damage of war and the hope for a better world. From personal to universal, the themes celebrate the life force, breaking free from chains of repression.
The album features: Steve Hackett (guitar & vocals), Roger King (keyboards & programming), Nad Sylvan (vocals on Inca Terra), Rob Townsend (all things wind), Amanda Lehmann (vocals), Gary O’Toole (drums), and Benedict Fenner (additional keyboards & programming). Also featured are singers Kobi and Mira (Israeli and Palestinian), Nick D’Virgilio (drums) from the USA, Malik Mansurov (Tar) from Azerbaijan & Gulli Breim (drums & percussion) from Iceland. Additional musicians who add to the rich flavour of the album are Christine Townsend (violin & viola), Dick Driver (double bass), Troy Donockley (Celtic Uilleann) and Leslie Bennett (keyboards on The Gift).
Full Track Listing:-
1. Behind the Smoke
2. Martian Sea
3. Fifty Miles from the North Pole
4. El Niño
5. Other Side of the Wall
6. Anything but Love
7. Inca Terra
8. In Another Life
9. In the Skeleton Gallery
10. West to East
11. The Gift
The Night Siren will be released through Inside Out Music on 24th March in the following formats:
Special Edition CD/Blu-Ray Mediabook featuring 5.1 surround sound mix & making of documentary: 88985410452
Standard Jewel case CD: 88985410462
Gatefold black 2LP vinyl + CD: 88985410471
Digital Download
Album artphotos by iconphoto.ch
Steve Hackett is returning with an exciting new show Genesis Revisited with Classic Hackett for a 15 date UK tour in April 2017. Celebrating the 40th anniversary of the classic Genesis album Wind and Wuthering, Steve and his band will be performing several tracks from the album as well as fan favourites such as ‘The Musical Box’ and other Genesis and solo numbers never performed before by Steve’s band including ‘Inside & Out,’ ‘One For The Vine’ and ‘Anyway’ as well as material from The Night Siren.
I caught up with Steve to discuss the forthcoming new album, the 2017 Tour and all other things Hackett-related. Many thanks to Steve for being so generous with his precious time, and also thanks to Jo Hackett facilitating the interview.
Tim Darbyshire – Hi Steve!
Steve Hackett – How are you doing Tim?
Tim – I’m good thanks how are you?
Steve – Fine thank you.
Tim – Thanks for your time tonight.
Steve – That’s alright.
Tim – Ok, so the new album, when is that due out?
Steve – Well, I think it’s going to be out in March.
Tim – Does it have a title yet?
Steve – We do have a title yes, but I haven’t officially given it out yet, so once the record company says ‘green light’ , then I will. All this stuff is being agreed at the moment – I’m just finally assembling the order of the songs. We had an order on Friday, but with some record company input there were a few changes, so we now have a new order as of today – and if it still passes muster tomorrow then that’s the one we’ll go with.
Tim – But the album is completely finished, it’s all in the can?
Steve – It’s basically in the can yes, bar the odd tweak it’s all in the can. It’s mastering at the moment, we’ve done the mixes so it’s basically down to the mastering. We’ve done a 5.1 mix as well as a stereo mix and we’ve done mastering for vinyl, except we’re doing it all over again due to the changed order. It’s a knock on effect, domino effect but in a good way I think.
Tim – So there will be a deluxe version with the 5.1 mix, maybe a double cd?
Steve – That’s right, yes I think in terms of formats there will be a blu-ray, and various things across the board basically. I’m finding it hard to keep up at the moment to be honest – I’ve been working flat out on this for over a year, but it’s coming to fruition and I’m very pleased with it. We’ve got people from all over the world on it.
Tim – So there are guest musicians besides your normal band?
Steve – Yes, there are guests on it, quite a lot of guests. There are about twenty people on it, from as far afield as Israel and Palestine working together on it.
Tim – That’s a good thing.
Steve – Azerbaijan, Hungary, The States. Some stuff was recorded in Italy, some in Budapest, some in London, it’s like an ‘on location’ kind of thing – and it’s got that kind of feel about it. I think it’s got a very….I’ve never used the word international before…… but it has a kind of international feel to it. There are aspects of World Music on it, it’s basically a rock album – but it does keep wandering off into other genres, crossing borders all the time.
Tim – Sounds like a very nice eclectic mix.
Steve – Yes, it is a nice eclectic mix and I’m just playing it to people for the first time. I’m just at my mother’s tonight in fact – she hasn’t been very well – and I’m playing it to her and she loves it already. It’s making her feel better, so it’s doing its job already! Music is supposed to heal, and that’s what it’s doing at the moment, and I’m pleased about that.
Tim – I hope she gets well soon, I know she’s a big supporter of your music.
Steve – Thank you, yes she’s been a huge support and huge enthusiast, all of those things. I think she will recover, but for several weeks she’s been ill with the lurgy basically – I think she’s on the road to recovery, but she’s having to fight this and it’s a little harder for her because of her age. There aren’t too many concessions to age with my Mum!
Tim – So early 2017 sees you back on the road, and I see you’ve got Nick Beggs back in the band.
Steve – Yes, Nick Beggs and we’ve got Nad as well with the regular band. We’ll also be celebrating the 40th year of ‘Wind and Wuthering’, so we’re doing quite a bit of that album – not all of it – but we’re doing what I think are the strongest tracks.
Tim – I was reading online that you’ll be playing ‘One For The Vine’ and ‘Inside And Out’, which is an interesting selection.
Steve – Yes, ‘Inside And Out’ wasn’t on the original album, but if it had been a cd it would have been on the original album as I think it’s very strong. To my mind, stronger than some of the tracks that ended up on the album, but I think it’s a favourite of fans and deserves to be more widely heard, so we’ll be doing that as well and I’m looking forward to it.
Tim – What was your involvement in that track originally, from a writing viewpoint?
Steve – Mainly the instrumental stuff at the end. That and guitar parts in the song itself.
Tim – It has a kind of latter day ‘Cinema Show’ feel to it.
Steve – I think it has some aspects of that, in that it has 12-string then it expands away from that. It’s very much in the Genesis tradition – well shall we say early Genesis – where songs started small and became very big, so you’ve got that dynamic range being covered within a song that is also a story. I think that’s something the band did very well.
Tim – You did actually play it live towards the end of the 1977 tour didn’t you?
Steve – We did, we played it in 1977, it was part of the live show so it couldn’t have been so bad!
Tim – And ‘One For The Vine’, that’s another epic song isn’t it?
Steve – Yes it is an epic, it’s a favourite of many people, many fans including my wife who said ‘Why don’t you do that?’. I cracked under torture! I’m just kidding, seriously…..when I left the band I saw them playing it live a few years later at Hammersmith (1980), and I thought it was very very strong live – perhaps stronger than on record, it just seemed to work so very well. I thought, ah I finally see what this is all about, which is often the case, some songs work extremely well live, it’s all about the band, it’s all about the performance, the response of the crowd, the lights – the whole thing, the show, the presentation.
Tim – Will you be playing ‘In That Quiet Earth’, ‘Afterglow’?
Steve – Yes we will be doing ‘In That Quiet Earth’, ‘Afterglow’, we’ll be doing ‘Blood On The Rooftops’……what else, we’ll be doing ‘Eleventh Earl Of Mar’ again as well. We were doing that at the beginning of touring the Genesis stuff about three years ago, or was it four years ago, but then we sidelined it. To do a set of things from ‘Wind and Wuthering’ I think we really have to do that, I think that’s all of the ones that we’re doing…..the ones that are more dramatic live. I know there’s other songs on there which are catchy and what have you, but for my money that’s the strongest live stuff.
Tim – I also read you’re bringing ‘Dancing With The Moonlit Knight’ back in?
Steve – That’s right, yes
Tim – And you’ll be playing ‘Anyway’ for the first time?
Steve – That’s right, yes, I’ll be playing ‘Anyway’ for the first time since 1975. Yes we haven’t done that one for a very long time, and I look forward to doing that one – at the suggestion of Nad funnily enough, he said why don’t you do that, so again I said ok if you like that. I think it’s a very good tune. I’m hoping I might be able to play the three-part guitar harmony because these days we have intelligent harmonisers, so I’m hoping I can get close to it, we’ll see how we go.
Tim – Will it be similar to the last tour where you do a set of solo material then a set of Genesis songs?
Steve – I’ve started a tradition of being two bands in one, I think. Whatever we play of the solo material – we’ll be doing some stuff off the new album – I’m fully aware what most fans tend to want is a reminder of what they were doing when their hormones were raging, and so the plan is to have one eye on the future and one on the past. I try to deliver all things to all people……
Tim – It seems you need to play two hours of solo stuff and two hours of Genesis then everyone will be happy!
Steve – Yep, I might get to that point, but I probably would have to have two bands, because I don’t think one band would be able to stand the pace of that….. then I’d be going one better than Bruce Springsteen wouldn’t I? Four hours on stage, we’re heading towards Wagner here if we do that.
Tim – Wishful thinking. There seems to be a trend these days of announcing part the setlist ahead of time. Is that promoter driven or fans wanting to know?
Steve – Yes, that’s true I seem to have given away most of the setlist off the top of my head. I think there’s a trend towards that, people like to know what they’re going get these days. It’s driven I think mainly by fans, so I’ve said I’ll do one of the tracks on ‘Darktown’ – ‘Rise Again’ – that was a favourite at the time and in a way it’s a vocal style I’ve adopted again on this new album – starting the melody down the octaves, a kind of intoning voice and then it becomes a cry. It’s a vocal style that I feel comfortable with, so very happy to be playing that. We’re also going to be doing ‘The Steppes’ – people have asked for that – and ‘Serpentine Song’ which I believe is off ‘To Watch The Storms’, another favourite. So, I do respond to people’s suggestions but I can’t keep everyone happy……
When we do the show with the Buffalo Symphony Orchestra that’ll be a different set, that will involve ‘Supper’s Ready’ and various other things so we’re kind of learning two sets, kind of heading a little to what you were talking about, the three, four hour show, but often these sets end up being two and a half hours or slightly more.
Tim – We’re coming to the Buffalo show, so really looking forward to that.
Steve – I’m looking forward to that, I’m looking forward to the Cruise, I’m looking forward to the tour, to everywhere we’re going to play. I’m also looking forward next year to covering places I’ve not been to before like Australia, New Zealand, Jakarta, Hong Kong, Singapore – the world seems to be opening up to this music which has had quite a gestation period to achieve its…..if I said ‘target audience’- I mean hardly because back in the day it was all a shot in the dark. It’s nice that it’s survived in the affections of so many people.
Tim – It has matured with age?
Steve – I think so, yes, like a wine in a cask, I think for some songs the prime time is now, having been in that period of fermentation shall we say, fermenting in the affections of people for a very long time.
Tim – Going back to the Buffalo show, is there a lot of preparation work you have to do with the orchestra? I guess they’ll be reading sheet music?
Steve – Yes, they’ve been doing arrangements and there’s some arrangements which I played live when I was in Iceland doing two shows with the band called Todmobile – who have also worked with Jon Anderson, doing great versions of not just Genesis stuff, but Yes stuff as well. They did a great job, so there are some charts from that and some charts that the Buffalo Symphony Orchestra have come up with.
It’s all not so much dipping your toe in the water as jumping straight in. I love what orchestras bring to rock music, I love the marriage of the two. Ever since we started experimenting with mellotrons, using that as a kind of surrealistic time machine – I always felt that if for instance I talk about my early heroes The Beatles, they were at their most interesting when they had as wide a sound canvas as possible.
That use of the orchestra, the way it worked with them and obviously mellotron as well, it was a great combination of things, so we kind of use everything, anything we can lay our hands on. I think that’ll be a very interesting show. Obviously you have to take risks – the biggest risk is who’s going to count 1, 2, 3, 4? Normally it’s the drummer, will it be the conductor?! It all has to be in sync, you have to have an agreement with an orchestra.
Tim – Might this become more than a one-off venture?
Steve – Well it’s a one-off, but if it works of course it means that we have the facility and the possibility of working with this thing more in the future. Not that I would want to have an orchestra that I was carrying round – I don’t want to flounder on that rock – I think you’d have to use different orchestras in different places. But it is starting to happen with me more, I worked with an orchestra in Germany a while back, I worked with an orchestra or two in Iceland, and it went very well in both cases, and now we’re doing it with the Buffalo people. It’s all a case of the more risks you take, the more inclusive and immersive the whole thing can be.
Tim – So the Genesis days, 40 to 45 years ago now, six great studio albums you were involved with, as we’ve just been saying it seems to be getting better with age. At the time though was it a bit of a struggle, financially and personally?
Steve – Well yes, I think all bands have their problems, as you say to finance it…..to finance it there was a lot of investment, not just financial but emotional as well. But it was worth it, it was a huge challenge from beginning to end for me, but my heart is still very much there in lots of that music.
Tim – Why do you think maybe it isn’t for the other four?
Steve – I think in a way there are two types of Genesis. There is the earlier band, the pre-video era – I like to think of it as the pre-pop era as well – and many of the fans loved that music. In the end, for the last two years with the band we were playing arenas and filling them, so there was a huge audience for that kind of music, so I think it proved itself to be hugely commercial and has sold ‘billions’ since. It all depends on your perception, I can understand it in terms of a band that becomes more streamlined, less personalities, less politics……and so I think it’s very easy to throw out the baby with the bath water and for them say everything prior to that time was a problem because of da da da da da……
But I don’t think fans see it like that, and many fans that love the early work of the band – who I suspect are the same fans who listened to Pink Floyd and Yes, and ELP and Procol Harum and many bands who were very melodic with an emphasis on musicianship. I think that they felt disenfranchised by the new direction of the band, but I’m certainly not going to complain, because once you leave a band it’s going to become whatever it becomes, and I totally respect what it became and think the band was interesting in all its incarnations but obviously I’m drawn to something that is closer in spirit to this pan-genre approach which includes what orchestras can do and what big bands can do, and a kind of music that is able to turn on a dime and bridge generation gaps and do all sorts of things that I think a three or four minute pop single doesn’t do.
So all I can say is that I’m interested in prolonging the life – certainly live – of the music that I considered to be weird and wonderful and a kind of musical odyssey and journey and all those things that Peter Gabriel still describes it as. There’s a lot of good stuff, and I’m only too happy to go and play that stuff again.
Tim – Would you say that ‘Voyage of the Acolyte’ sowed the seed that maybe you’d rather go out solo on your own?
Steve – Well I think certainly composition by committee has its limitations for groups. I think groups can write wonderful things together, but at the same time it’s impossible to keep a lid on it. If one guy wants to go and do solo things, and you know the others don’t really want him to go and do it…… Pete wanted to have a solo career in parallel with Genesis and certain factions in the band made that impossible, so in the end one’s allegiance has to be to the music, or the totality of what music can become – at the same time it doesn’t mean that I disown those songs, those songs don’t become orphans just because I say ‘no son of mine’ (to quote a particular song).
I still love those songs, they’re all shared-brain children with the other guys and I care hugely about them, otherwise I wouldn’t be playing them again.
Tim – Have you had any feedback from the others? Have they seen the show at all?
Steve – No no, the other guys don’t come to the shows. Genesis is a very competitive band, the individuals are all very competitive.
Tim – Even now?
Steve – Yes, they don’t do that sort of thing, it’s an unspoken rule. You have to be able to speak ‘Genesis’ to understand it, and I totally respect it you know, if you’re that competitive with your thinking you won’t do that. I think everyone wants the other guy to do well, but maybe just not quite as well as you’re doing yourself if you know what I mean? It’s a very British repressed fucked up kind of thing, but hey, what the hell.
Tim – So ‘Wind and Wuthering’ is forty years old, when you recorded it was the writing truly on the wall for you?
Steve – Oh yes, the writing was on the wall for me at that time I think, it wasn’t that I didn’t love the album – I certainly thought the album was very strong, but politics played its part with all of this, and you can’t keep a good Hackett down! I had to get out there and work with other people, I couldn’t have still-born brain children and that was what was on offer so I had to go out and work with other people. Wonderful people as it happens, wonderful then and wonderful now.
I still love all the guys of course, all hugely talented and they’ve all written wonderful songs and done wonderful stuff, you can’t knock that you know. Genesis was a force of nature, it’s sad there is no band at the moment but you’ve got to respect everyone’s right not to play that stuff or not to be that thing, but that doesn’t mean I can’t celebrate those early years because I gave it everything I could, gave it my full attention, writing and shaping the live show and trying to do some things by stealth – noticing things that other people didn’t notice, trying to put those things right. I’m writing a book at the moment, so I’ll put the record straight for all those that have collective amnesia with this.
Tim – Great, I was going to ask about an autobiography as it’s been a few years since Alan Hewitt’s book.
Steve – Yes, I’m working on it at the moment, once I’ve got the album out of the way I’ll be concentrating on that.
Tim – You’re always so busy.
Steve – I’m a busy boy, yes!
Tim – I’m sure it’ll be a very interesting read, I did enjoy Mike Rutherford’s, Phil Collins’ and Peter Gabriel’s recent books.
Steve – Yes, Phil has just done his and I enjoyed reading their books and I’ll get my own back with mine!
Tim – Is there any thought to doing any more studio recordings of Genesis material?
Steve – I’ve got it on a back-burner, but it’s not a priority at the moment. There are many things that we’ve done live that I haven’t recorded, or re-recorded, so there’s always the possibility of that at some point but I’m not looking at ‘Genesis Revisited 3’ at the moment. I think it’s also important for music to have a future, much as it’s nice to keep the museum doors open, I think to pension yourself off is not a good idea if you’re hot to trot in terms of new stuff – look what guitars can do now for instance, look what technology affords one and what experience brings to it, so I’m still as passionate about it all as I ever was.
Tim – It sounds like you have a nice balance between creating new music and celebrating the past?
Steve – Oh well that’s it, that’s the whole point isn’t it? I think if I saw for instance a Paul McCartney gig, I know I’d be very happy to hear him do ‘Band On The Run’, but I’d also be very happy if he breaks into ‘Eleanor Rigby’ you know, and ‘All My Loving’ and all that – I think they’re gorgeous songs from out of the jewel box.
I have much the same affection for the songs that I think were rather wonderful that we did at one time – I’m allowed to be a fan of the other people in the band, a team of great writers who came up with wonderful stunning material and it’s great to have been part of that, it’s great to have written with everybody.
Tim – It’s important that you’re keeping it alive.
Steve – That’s the idea, keeping it alive.
Tim – Great Steve, thanks for you time tonight, looking forward to seeing you in Oakville and Buffalo next year.
Steve – Brilliant, I look forward to it as well, absolutely. Thank you.
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For all the latest Steve Hackett news visit Steve’s website.
Steve Hackett 2017 Tour Dates:
Read my April 2016 interview with Steve Hackett here.
Read my Steve Hackett 2016 Live review and see photos here.
Progressive Music Review 