Riverside Showcases ID.Entity at Masquerade

A Riverside concert is a thing to get excited about. The Polish prog rock band, still a relative unknown in the U.S. after 22 years, treks across the Atlantic every couple of years to build their audience. This tour, they’re promoting ID.Entity, their first release of new material since 2018.

It’s unfortunate that it seems necessary to mention that the band is Polish. It wouldn’t matter if they were from Iowa, but it does highlight the investment they make in traveling across the Atlantic. The best of the current generation of prog rock bands reside in western European and Scandinavian countries, and Riverside, like the others, record their songs in English. Importantly, those other bands don’t often travel to the U.S., if ever, given that they can sell out arenas and amphitheaters with less economic headwinds. So, again. A Riverside concert is a thing to get excited about.

Why? Prog rock may turn some people off due to observed excesses such as song length, virtuosic but inaccessible music, silly fantasy-laden lyrics or general lack of melody. No worries here. Riverside evolves gradually in their tones, their earlier period rocking harder to their latest which gives a nod to pop-rock aspirations (“Self-Aware” and “Friend of Foe,” the latter which includes a reggae section that passes muster live but an otherwise questionable choice in suitability in a recording.)

With ten album releases in their catalogue, there are ample choices to feature in their sets. And, then there’s the presentation. Singer/leader Mariusz Duda might be considered a prog rock rarity as he has an ear-friendly voice that can also offer up a death metal roar, but he also constructs his songs that highlight melody regardless of non-traditional time signatures. On stage, Duda, who ten years ago would often “hide” in his hoodie, now reaches for it on his back only occasionally before apparently deciding, no, he doesn’t really need it. Part of that may be that he appears more than comfortable as the band’s master of ceremonies. If it were a sitting venue, he would make sure people aren’t sitting on their hands – as he did several years ago at what he recalled to be the Winery House (City Winery), a venue “which requires a mutual apology.” No apology needed, except perhaps from his booking agency, and at least he remembers Atlanta uniquely from all their other stops.

The Masquerade – Hell venue suits the band very well. With a standing floor audience, a balcony railing to fill the sightlines to and from the stage, great lights and sound, it puts a band in the best position to rock their audience. Ten years ago, keyboardist Michaeł Łapaj, lamented the sparse attendance at their first U.S. stop, Isle of Palms’ Windjammer (!), with “Nobody came” and at Atlanta’s Vinyl which was modestly attended. “It’s like we’re starting all over again.” For this show, Duda asked the crowd, “How many saw us here last time?” A bunch of raised hands. “How many are here for the first time?” A bunch of raised hands. “About the same. It’ll probably the same next year.” Good! In the selfish sense of seeing the band yet again. This band is so deserving of a larger stage. But until they find that larger stage, you get to see them up close and inexpensively. It’s something to get excited about.

The other element is that Riverside isn’t punching the clock and going through the motions. You can’t do that and keep your audience, never mind add to it. The setlist may be close to the same night after night, but they’re demonstrably having fun. Duda’s insistence on sing-a-longs and the ever-smiling Łapaj gazing across the audience set the scene. Guitarist Maceij Meller may never replace Piotr Grudziński, who passed away in 2016, but he’s already a more visible presence in terms of eye-contact with the audience. In addition to his contributions to their new album, his solo for “We Got Used to Us” should make any doubters into believers for the band’s future. To that highlight, what you get at a Riverside isn’t just a recreation of their recordings. Extended solos and outros… It’s what live music fans live for, right?

Other highlights included the expected musical ear candy (not a song specific description), but opening with “#Addicted” sets high expectations for old and new fans alike. “Landmine Blast” and “The Place Where I Belong” were particularly enjoyable live, pointing to the strength of their new CD. The inclusion of “Left Out” and “Egoist Hedonist” from Anno Domini High Fidelity were also a treat. Sure, they could have played longer than the almost two-hour set or maybe made it a two-night stand with a different setlist, but that’s just a fan talking, one who wants to see more.