All too fast. Just like the tickets, sold out within a day or so six months ago. Or the 14 songs King Crimson played on their Three of a Perfect Pair tour in Merriweather Post Pavilion, MD in 1984. Or the 40 years until this particular night, when BEAT recaptured the magic in an expanded 19 song set which ended all too fast.
BEAT is a welcome off-spring of King Crimson, famed in its rich progressive rock history through various lineups over the decades. Founder/fixture Robert Fripp took a bold new step reforming the band in the early 1980’s embracing New Wave influence like Talking Heads and The Police and launching something quite different. Guitarist Adrian Belew (Frank Zappa, David Bowie, Talking Heads) brought much of the era’s influence into the songcraft and Byrne-like vocal delivery along with elements of world music and avant-garde experimentation. Add rhythmic complexity and interlocking guitar parts, and the band enjoyed a singular voice in the era.
Belew has assembled a band to further explore the 80’s era Crimson, with Fripp’s approval. That includes bass legend Tony Levin who began playing with KC alongside Belew, Danny Carey (Tool) to take on Bill Bruford’s percussion imprint, and none other than guitar virtuoso Steve Vai to tackle Fripp’s decidedly distinctive guitar parts.
Masterfully conceived, but how about executed?
“Neurotica” led the set and Belew’s distinctively quirky vocals fell right in with the guitar madness of the song. “Neal and Jack and Me” followed, giving Vai ample time to shine. Importantly, this isn’t a tribute band approach of note by note mimicking. This band gets the root, but they reinterpret the material because they can. It’s a master class. And the 2,300 in attendance were privileged to witness this resurrection in, relatively speaking, an intimate environment.
On record, Discipline, Beat and Three of a Perfect Pair dazzle, but in an introverted way of marveling at its complexity and fidelity. Live, the music leap from the stage. The band splits the material into two sets with a 15 minute intermission. The first set Belew casually mentions is loaded with songs from the last album of the series, “so when you come back later, you’ll hear the ones you love.” He redacted himself a bit as that came off a little differently than he intended, but, to be fair, the second set was lit.
“Waiting Man” began with Carey alone on stage, introducing the rhythm on a percussion stand with six drums. Belew joins him for a time, then Levin and Vai kick in. And then… “The Sheltering Sky,” the highlight of the show. You expect Vai to solo, and he does that, with his typical precision, nuanced whammy bar, finger tapping etc. But he’s a showman as well and watching him play is a more visceral expression of what perhaps Robert Fripp might feel deep inside when he rocks on his stool hidden in the shadows. It’s great to actually see that emotion cast out to the audience.
Tony Levin is always a joy to watch, whether on the Chapman stick or wearing his funk fingers on a standard bass guitar. And I’d think it’s enjoyable for him to return to playing keyboards. Danny Carey possessed his kit, whether it required a light touch or a hard one. He’s a joy to watch. Which surfaces the need for this band to be recorded. At times, there is so much going on with each player at the same time, you can’t follow all of it. It’s amazing.
I’ve considered the most recent touring edition of King Crimson the “One King Crimson to Rule Them All.” They play through the decades of material superbly. But this band and the music they’re playing just rocks. If you’re out there waffling about buying a ticket, even for aftermarket prices, just do it. No regrets. Except it goes by all too fast.
First Set:
Intermission:
Second Set:
Encore:
