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<item><title>Dream Theater-Seattle 2/27/25</title><description><![CDATA[Live Performance Review by Catcher10 &mdash; Well, this one was really good and borderline excellent....Dream Theater is currently out on their 40th Anniversary Tour, as well they just had a new album release early in the month. Parasomnia tour sounds like will start later this year, which James LaBrie said they will be playing it in full.This tour features almost all previous albums, two songs were played from the new album. The show is in two sets with a 15min intermission. The setlist is very heavy to Scenes From A Memory, which is fine by me, as well they are rotating two different setlists. We got the setlist I was hoping for, hearing Dark Eternal Night over Constant Motion was nice and as well getting Home in the encore set. Biggest question, Labrie's voice??? Well, it sounded better than some of the earlier YT videos of this tour and I also think he is still suffering from being ill (cold I assume) that caused them to cancel the show in Atlanta I think. Either way his biggest issue is annunciating words, they tend to sound all jumbled together, that was my wife's biggest issue is she could not understand what he was singing, lyrically. James also (for me) has never hit the mark as being a good frontman on stage, it seems like a struggle for him, Portnoy is a much more natural behaving frontman.&nbsp;Regarding Portnoy, he was on fire, extremely relaxed, very engaging with the crowd and for sure not the Portnoy of 20 years ago. Age has calmed him down, he was smiling a lot more than I remember in previous shows we've seen him including with Neal Morse and Transatlantic. Very glad to see him back!Petrucci was his normal self, creating great riffs and they came across real well last night. Visually I wish he'd dump that beard&nbsp;.Jordan Rudess, not a big fan although last night he did just fine, not too much w**king on the synths but his playing was more subdued than what I remember in previous shows.And the normal with Myung....He's so low in the mix, honestly if he was not playing not sure it would matter much. He had his spotlight moments with his intro to Panic Attack, but in general the bass playing in DT is more like the traditional metal vs what you hear in Porcupine Tree or The Pineapple Thief. Those live shows feature a good dose of sub bass from the players like Jon Sykes, Colin Edwin or Nick Beggs. Again, for me the setlist made this show borderline excellent as well overall the performances were spot on, the show was well produced as well.My spousal unit was able to get the setlist sheet from Myung's area after the show, she was trying to get a drum stick but Portnoy simply dropped his sticks behind him as the show finished.Very glad to have seen them.......       Catcher102025-02-28 13:15:35]]></description><link>http://www.progarchives.com/forum/forum_posts.asp?TID=134538&amp;FID=22</link><pubDate>Fri, 28 Feb 2025 13:15:09 EST</pubDate><guid>http://www.progarchives.com/forum/forum_posts.asp?TID=134538&amp;FID=22</guid></item>
<item><title>Peter Hammill, Milan, November 18th</title><description><![CDATA[Live Performance Review by jamesbaldwin &mdash; I'm waiting....      ]]></description><link>http://www.progarchives.com/forum/forum_posts.asp?TID=133854&amp;FID=22</link><pubDate>Tue, 12 Nov 2024 12:46:22 EST</pubDate><guid>http://www.progarchives.com/forum/forum_posts.asp?TID=133854&amp;FID=22</guid></item>
<item><title>Black Country, New Road &amp; Cameron Picton 4/24/24</title><description><![CDATA[Live Performance Review by LearsFool &mdash; Fresh off of their appearances at this year's Coachella BC,NR are back on tour and brought their cavalcade to the all new Brooklyn Paramount this week. On top of finally bringing new material to NYC they brought along two excellent guests: Horsegirl, joining them once again as they did at their Bowery shows, and the seemingly enigmatic Camera Picture who started the night... ... as you'd guess from the topic title and the name, that first opener was none other than Cameron Picton of Black Midi, who has been stretching his wings with solo recordings and performances to match Geordie Greep's own New Sound and Swing Boys shows. Picton performed almost exclusively classical guitar, using that style's options to explore a variety of emotions and interests across his half hour set. He has excellent aptitude for love songs, which made up half of his performance and showed more sides of his fascinatingly idiosyncratic lyricism. The first highlight of his set for me though was the second song, where he played complex flamenco-adjacent guitar while repeatedly moving his instrument's position from the classical standard into other angles while almost shredding through his piece. Get Picton on stage with Al Di Meola immediately. A later song featured him temporarily breaking into a take on "Copacabana"'s first verse where he didn't remember half of the lyrics. The other highlight was his sort of bonus final cut, his song "365 Party Boy" which resembled some sort of disco or EDM cut where he backed himself with a thumping bass drum beat (quite unlike a version of the song played at The Windmill I have seen) while grooving out with both his steady guitarwork and hypnotic singing. And in any case I believe his setlist - which for the life of me I can't properly reconstruct - featured the solo cuts "Perfect London" and "disstrack" which you can peruse alternate versions of on Youtube. Horsegirl's performance felt softer and gentler than their Bowery opening almost two years ago. We await the next studio step from them, but in any case their arguably lighter style that night was welcome and invigorating. With the ever trading vocalist/guitarists Nora Cheng and Penelope Lowenstein constantly switching out and borrowing their various instruments, they played gorgeous and loud music that soothed and challenged the soul alike. Their drummer Gigi Reece also deserves special recognition for their powerful rhythmic work in this set. Coming out to the bombast of Beyonce's classic "Crazy In Love", BCNR quickly steeled themselves for their usual complicated and gentle showing with the escalating beauty of their new song "For The Cold Country", it's crescendo the template for the evening. Their skill and balance between power and tenderness defined their almost hour and twenty minute set, ever eclectic, warm, and tender. Following on excellent performances of their earlier/Live At Bush Hall cuts "The Boy" and "Laughing Song", the beautifully obvious was pointed out: this show would feature a slim majority of newer songs. The following three songs, all pristine, showed off their power and dexterity. This part of the show was closed out by the earlier "Turbines/Pigs", most of the band back in storytime mode as Georgia Ellery and May Kershaw tenderly played this instant classic. As we neared the end of the night, we got a performance by all but Kershaw of identical recorders for a unique and pretty cut. Following that the climax was based around the LABH song "Dancers", with Tyler Hyde rising from her seat to sing and play on this extended and explosive take on the cut. Shimmering under the evening blue ceiling and almost century old statues, BCNR closed the show with rolling aplomb. I eagerly hunger for what's next. LearsFool2024-04-26 02:47:36]]></description><link>http://www.progarchives.com/forum/forum_posts.asp?TID=132888&amp;FID=22</link><pubDate>Fri, 26 Apr 2024 02:35:05 EST</pubDate><guid>http://www.progarchives.com/forum/forum_posts.asp?TID=132888&amp;FID=22</guid></item>
<item><title>Swans - 4/14/24 - The Broadberry - Richmond, VA</title><description><![CDATA[Live Performance Review by mathman0806 &mdash;   My first time seeing Swans and it was a great experience. A sold-out show at the Broadberry, which has a capacity of about 500.   It wasn't packed in. I stood about a third of the way froKristolo the front of the stage. I am getting to the point where standing for a show is rough on my feet. I got out of my at 7:35 and got back in at 11:30. Four hours is about my limit.   The doors opened at 7. And promptly at 8, Kristof Hahn opened with a solo set on the lap steel guitar. He started with an instrumental. After one song, an audience member asked what the song was about (it was sung in German), and I think Hahn replied it was about his mother's funeral. He concluded with another song about his mother, instead of the piece he had planned.   Swans took the stage and started right at 9. The intro number was about 25-30 minutes and then an extended version of the Beggar for a total of 76 minutes to open the show. Michael Gira played mostly seated, but would get up at times to "conduct" the band, wildly flailing his arm and gesturing.  It was loud. I had packed earplugs but had lost one. Fortunately, the venue offered free pairs at the bar. At times, I could feel the music vibrating off my skin. The music would swing from quiet, sparse moments to an intense, layered wall of sound.   The same setlist is played on this tour and after The Beggar, was the Hanging Man, followed by the new tracks that will be on the next album. Altogether, Swans played for 2 hours and 2 minutes. Gira was engaged and animated throughout the show.   ]]></description><link>http://www.progarchives.com/forum/forum_posts.asp?TID=132836&amp;FID=22</link><pubDate>Mon, 15 Apr 2024 06:12:35 EST</pubDate><guid>http://www.progarchives.com/forum/forum_posts.asp?TID=132836&amp;FID=22</guid></item>
<item><title>YES: Roger Dean Speech in Mobile, AL. 10/13/2023</title><description><![CDATA[Live Performance Review by paisanojac &mdash; A few rude concertgoers for YES at Saenger Theater in Mobile, AL on Friday October 13.&nbsp; I drove 11 hours to attend this concert (and also art presentation by Roger Dean) and I've never experienced anything like this before in what was my 31st YES concert, which was otherwise enjoyable as always.&nbsp; I was quite keen whilst attending Roger Dean's speech which should have been interesting to any YES enthusiast, or anyone who enjoys art.&nbsp; Well....half way through his speech, some very few members of the audience from different sections started heckling Roger loudly saying, in essence, that they came for the music and not an art presentation. Whoa, what? It was clearly advertised that he would give a presentation before the band took the stage.&nbsp; You can't sit through what should be an interesting presentation for a measly 30 minutes without your alcohol-inspired rudeness spewing out of your pie-hole?&nbsp; What in the Hades is wrong with some people?   paisanojac2023-10-19 11:23:23]]></description><link>http://www.progarchives.com/forum/forum_posts.asp?TID=131916&amp;FID=22</link><pubDate>Thu, 19 Oct 2023 11:22:42 EST</pubDate><guid>http://www.progarchives.com/forum/forum_posts.asp?TID=131916&amp;FID=22</guid></item>
<item><title>Steve Hackett - Foxtrot at 50 - Manhattan</title><description><![CDATA[Live Performance Review by LearsFool &mdash; Things didn't work out for me last year to see the impeccable guitarist Steve Hackett play the cuts featured on Genesis's seminal live release Seconds Out, but I was able to attend a performance of his new tour focused on a front to back rundown of my favorite of the group's studio LPs, Foxtrot. I not only had that to look forward to but also the first set of the tour which casts a wide net over his solo career, including selections from his three most acclaimed early records as well as representatives from the lukewarmly remembered Highly Strung and his most recent outing Surrender of Silence. It indeed proved to be a cracking concert, enthralling all of us in the intimate, almost sold out Town Hall theater with the power of him and his band's excellent playing. The tour's setlist opens where Hackett's solo career began, Voyage of The Acolyte's opener "Ace of Wands". Immediately the the precision and form of the show took shape, with the expert instrumentation of the band making itself apparent and the stage lighting already sweeping across the audience and upwards to project vivid colors onto the ballroom ceiling. Hackett cheerfully said his hellos to us before breaking into a stellar performance of "The Devil's Cathedral", giving us our first taste of Nad Sylvan's wonderful vocals for the night. The set continued through some of his solo classics before giving over to a thrilling bass solo from Jonas Reingold, the rest of the musicians leaving the stage to give Reingold more room to jam and explore. At the end drummer Craig Blundell - fresh off of his spellbinding contributions to Steven Wilson's The Harmony Codex - returned to his kit to build a rhythm with Reingold to enter into Highly Strung's live favorite "Camino Royale". The last selection before the break was the always radiant "Shadow of the Hierophant". The night's performance of Foxtrot was an expert and arresting example of playing a well worn classic practically to the note and tone. This is to say that rather than being trite or failing to match the form and power of the original - arguments can even be made as to how Genesis Live succeeded or otherwise in the latter department, after all - Hackett and his group gave one of the best possible straightforward takes on the LP. Roger King's mellotron (or else facsimile thereof, I'm unsure) started a little off timbre-wise at the very beginning of "Watcher of The Skies" but quickly regrouped into the next best sound to Tony Banks's original. From there the playing was infallible, a worthy successor and a more than enjoyable experience. Sylvan's vocals in particular take after Peter Gabriel's exceptionally well and he gave the thrust of the limited reinterpretation of the material, organically following his prerogative in the way he sang the lyrics. He also gave over to the audience to gleefully ask "A flower!?" during the titanic performance of "Supper's Ready". Hackett was ever in top form, which to my mind was most directly shown in his own band-free solo, the tender touchstone "Horizons".  This of course brings us to the extended encore. It begins with the ever popular "Firth of Fifth" done as great as ever before leading into a mesmerizing drum solo from Blundell. Finally we were given the classic sendoff "Los Endos" in the positively most frenetic performance of the evening, though not without a detour in the middle into Defector's "Slogans" to keep us on our toes and satisfy those proggy desires we didn't know we had. Hackett and his band were astounding in NYC and played off of each other beautifully, so flowers to them including the heretofore unmentioned Rob Townsend on woodwinds, another master of his craft on that stage. I look forward to Hackett returning with both new solo songs and takes on other frontiers of Genesis's legendary oeuvre. LearsFool2023-10-15 04:05:52]]></description><link>http://www.progarchives.com/forum/forum_posts.asp?TID=131894&amp;FID=22</link><pubDate>Sun, 15 Oct 2023 02:41:49 EST</pubDate><guid>http://www.progarchives.com/forum/forum_posts.asp?TID=131894&amp;FID=22</guid></item>
<item><title>Cynic &amp; Atheist - LPR, 7/6/2023</title><description><![CDATA[Live Performance Review by LearsFool &mdash; A couple nights ago I was witness to one of the most skullcrushing yet beautiful performances I've ever seen at the cavernous Le Poisson Rouge (LPR, and congrats on 15 years) as the twin titans of jazz influenced prog/technical death metal Atheist and Cynic took the stage to perform their legendary 90s era classics. In this they were joined by Kevin Hufnagel of Gorguts, who played a tender solo acoustic set as the calm before the storm, and local blackened death metal greats Hierarchy. Dedicating their set to the Old Gods, Hierarchy ripped through some of the finest and hardest BDM of my life, marshalled by the charisma, power, and humor of their frontman Tabotan. Their bassist Kimaris 66 repeatedly crossed and leapt the stage, freed by his instrument's wireless pickup, while their drummer Wraith managed to fatally puncture his own kick drum, necessitating a quick replacement. Atheist were heralded by Floyd's "In The Flesh?" before beginning a set that both challenged the mind and immediately opened the pit, the only act that night to get myself and a few others moshing. After all it's just like the man himself&nbsp;Kelly Shaefer said that night: "We're the Van Halen of technical death metal!" They ignored their 2010 record Jupiter, instead digging all the way back to their Beyond demo from 1988 and rampaging through their greatest glories. Shaefer and his younger cohorts - especially bassist&nbsp;Yoav Ruiz Feingold - were energetic and feeling the crowd, with Feingold leaning into the onlookers and repeatedly exhorting us in the pit to circle and slam. At the end of their performance Feingold even held his bass out for some members of the crowd and I to pick at. Even then, Atheist's artistry and technical prowess were beyond question, an almost entirely different band bringing some of metal's best music back to life after 30+ years. Cynic's set was, well, focused around their masterful 1993 LP Focus, which they played in its entirety. Watched over by portraits of the late great Sean Malone and Sean Reinert, another quasi-ghost band resurrected another vintage prog metal gem, trading the manic energy of Atheist for that more classically prog sentinel flavor, with the crowd now calmed, tight, and watchful. And yet Paul Masvidal was himself greatly animated, feeding off the vigor of the rest of the band and of the audience, kneeling before drummer Matt Lynch's kit and us enraptured fans as he played his music. This was a performance both top-notch and greatly emotional. Focus&nbsp;of course only makes up half a headlining set, so to round out the night Cynic switched gears to some of their newer material, played extra hard to match their debut's metallic crunch.]]></description><link>http://www.progarchives.com/forum/forum_posts.asp?TID=131220&amp;FID=22</link><pubDate>Sat, 8 Jul 2023 02:25:39 EST</pubDate><guid>http://www.progarchives.com/forum/forum_posts.asp?TID=131220&amp;FID=22</guid></item>
<item><title>Swans - Bologna, Teatro Duse 29/5/2023</title><description><![CDATA[Live Performance Review by Lewian &mdash; So the concert was announced for 21:00 and there was an opening act, and I arrived 20:45 and the opening act had already finished his set. I asked some people and nobody had known that something would be going on before 21:00. What are the organisers thinking?? Can't they announce 20:00 or 20:15 if something will start at this point?&nbsp; Sorry Norman Westberg, I would've been curious and open minded, but couldn't unfortunately follow your set as I didn't know... Anyway, I was really there for Swans of course. The Teatro Duse is a fully seated elegant theatre, and the seats are not exactly optimal for somebody 1.90m tall like me. When Swans started, I thought for some time that this wasn't going to work that well. Not because the band did anything wrong but rather because the venue wasn't quite right for their (at least for me) very physical music. The distance I had from the stage in the gallery didn't exactly help. But by the time Swans had finished their long opener (some 25 minutes I think) and Michael Gira was asking people to stand up and move forward, I already decided to not walk down and risk to potentially miss a few minutes of their music just for standing, and standing closer. No, they had already occupied my attention to the extent that I wouldn't change my position. Music can have many directions but I do think that there is a direction in which Swans are the most extreme band in the world. Their music is most violent, but not violent as in criminal human on human violence, rather like a tsunami or hurricane, like a flood that takes down everything in its way. I was thinking that there were catastrophic flood events close to Bologna some two weeks before the event, so is it fine for music to emulate that? But of course the music of Swans makes nobody die or lose their homes, it's just the impressive energy that they're transmitting that almost knows no limit. Well actually it does because suddenly Gira can stop a track going on in full swing up to that point, and also chances are they had a contractual obligation to finish 23:15 or so (after maybe 130 minutes) and they had the discipline to do that (or maybe they needed to finish 23:00 and they ran over by a bit, I don't know).   Anyway, when going ahead at full power, it seems there cannot be any thought or coordination and nothing can go in their way. It's an almost superhuman power that they develop, still the truth is there is composition and coordination, there is the tightness necessary for turning the energy up like this (the river in the too small bed becomes most dangerous when water is on its way, as people in Emilia-Romagna know all too well these days). What they play is quite repetitive and often rather simple in structure, even though more subtle details can be found in the individual parts. There is obviously quite a bit of freedom for the musicians to let things flow, even though Gira pulls the strings regarding ebb and flow and major changes. This is how it works, the raw energy doesn't allow for all too intellectual elaboration. In my work and daily life I have to think of too many things, and often enough I can't do what I want and have to make decisions between several things that need to be prioritised and done when none of them allows me to really let go. In a Swans concert I feel that there are no considerations of anything other than what is going on right now, and things really roll and take me with them. This kind of thing is really special, and a very basic human need I think (even though I also think that many would find things far too noisy, or too monotone, or too dark, and some even too scary, but it at least won't ruin their home, promise... maybe their ears, a bit).&nbsp;   Actually, they start and end at full energy, some of which actually a proper noise held together by the wall of sound rather than a rhythm or harmony, but it can also be rhythmic and occasionally surprisingly groovy. In between there are some calmer tracks, maybe even meditative or pastoral, still however flowing with energy. Gira gives the high priest or necromancer; he doesn't actually sing of natural disasters (which is what the music sounds like as you have realised by now), rather he sings of love and other emotions, probably also about sex (yeah the music does connect to sex but probably not the kind of sex that happens in most bedrooms most of the time), though I didn't get it all. Anyway, also the calmer tracks are repetitive and build up an intense atmosphere in best psychedelic/kraut/post rock tradition (but go further in intensity) rather than having a transparent song structure. This would work in some kind of church though.   Gira, by the way, played an acoustic guitar all night as already mostly on leaving meaning; it makes the more recent material in some way less sharp and more organic/nature-like than their 2010s period (sharpness is not what makes a tsunami). A number of tracks comes with two drummers.   Well you have already guessed it, I liked this; a very special evening for me and most of the audience even if maybe not for everyone. Another pretty old band, but this one still at the height of their powers. I love their albums, however this kind of music has a whole different quality performed live. When it comes to intensity, this is pretty much as high as it gets.  Instead of a live photo of the Swans I show how the river here looked like on 12 May, some 7 minutes by foot from my home. This is normally rather a small creek and there is a footpath and a little park buried by the floods. Luckily nobody's home was flooded and nobody had to be evacuated around here; 20 minutes further (OK by bike) some people were not that lucky. A Swans live experience is something like this, minus the worries and the destruction.        Lewian2023-05-30 04:02:34]]></description><link>http://www.progarchives.com/forum/forum_posts.asp?TID=131003&amp;FID=22</link><pubDate>Mon, 29 May 2023 17:01:14 EST</pubDate><guid>http://www.progarchives.com/forum/forum_posts.asp?TID=131003&amp;FID=22</guid></item>
<item><title>Bent Knee - Elsewhere Zone One, 5/18/23</title><description><![CDATA[Live Performance Review by LearsFool &mdash; Yesterday I finally got the chance to see one of modern prog's most exciting and evocative acts, Bent Knee, in the intimate environs of Elsewhere's small capacity Zone One room. The evening got off to a great start with the picks for incidental music between sets: Duster, Protomartyr, Slint, and multiple Guided By Voices cuts from across their two best LPs (Bee Thousand and Alien Lanes) among others got me in a good mood. This was soon followed by the first opener, Laura Wolf, who played and sang solo, running electronics and playing upright bass via an electric pickup and several effects pedals. She bent and looped her bass's melodies into unqiue forms as she plaintively poured her heart out before us. I'm excited for her upcoming debut EP. The other opener was Childish Japes, a prog-adjacent four piece who likes to switch up their singers each project. Their main vocalist Dave Vives led them for all but one song, a fiery and charismatic frontman for a group that moves through moods like sailfish. The four played admirably and showed great humor and comradery. Late in their set they invited Bent Knee's own&nbsp;Courtney Swain to sing a cut in a pleasant surprise. Soon Bent Knee took the low stage with their panoply of instruments and began an invigorating set. Chris Baum switched rapidly between his violin, guitar, and electronics as each song demanded, often almost strumming the former like a six string for the pizzicato parts. They charged through several pieces, always with high energy and perfect power. Swain of course was the biggest highlight with her devastating vocals, matched by her own mastery of her various instruments. Vince Welch showed his own multi-instrumental prowess, and&nbsp;Gavin Wallace-Ailsworth not only wowed on his drums but even switched to his own guitar in the main set's final cut. Us in the young crowd were awed at their live achievements. They finished on schedule with an explosive encore and bid us farewell. I don't usually take photos let alone video when I go to shows, but since no professionals were in attendance I decided to try snapping some phone shots alongside some of the others who were right in front of the stage. Here's Laura Wolf:  Childish Japes, including setlist:    Bent Knee, early set:  ]]></description><link>http://www.progarchives.com/forum/forum_posts.asp?TID=130942&amp;FID=22</link><pubDate>Fri, 19 May 2023 01:57:15 EST</pubDate><guid>http://www.progarchives.com/forum/forum_posts.asp?TID=130942&amp;FID=22</guid></item>
<item><title>Riverside w/ The Cyberiam - Sony Hall 3/16/23</title><description><![CDATA[Live Performance Review by LearsFool &mdash; Tragically I was unable to see Riverside at their previous Manhattan visit last year at Gramercy Theatre. Instead I was able to make up for this at the subterranean Sony Hall just off Times Square and Broadway as they toured off of ID. Entity with half of The Cyberiam last Thursday. This show was one of the best I've ever seen, especially on Riverside's part. Fittingly billed as The Cyberiam Duo, singer/guitarist Keith Semple and bassist/vocalist Brian Kovacs played their own stripped back and solid set to open. As Semple laid down the rhythm with a personal electronic kick pedal, the two winded through a mix of old and new material seemingly chosen to pick at the audience's brains with their lyrics. Riverside's set was focused on ID. Entity, stripping back some of the synths and showing the connection the LP has with their live sound. While otherwise keeping to the tour's standard setlist, they spiced up "Post-Truth" with an interpolation of "Caterpillar and the Barbed Wire" . Of course, they got the biggest cheers of the night with their rousing and resplendent versions of older cuts like Anno Domini High Definition's "Left Out" and "Egoist Hedonist", which were the highlights of my evening. The band was in top form and truly enjoyed themselves as they winded through their performance. Speaking of which, part of the majesty of Riverside's show was their warmth, joy, and connection to the crowd. Mariusz was a consummate frontman and engaged with us at every turn, alongside the obvious bonds between the band members. Riverside were a joy to watch, and left on a high note with an extended encore of the killer new cut "Self-Aware" and the vintage "Conceiving You".]]></description><link>http://www.progarchives.com/forum/forum_posts.asp?TID=130653&amp;FID=22</link><pubDate>Sun, 19 Mar 2023 18:13:53 EST</pubDate><guid>http://www.progarchives.com/forum/forum_posts.asp?TID=130653&amp;FID=22</guid></item>


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