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Steve Hackett returned to Atlanta with “Foxtrot at Fifty,” only a year after blessing fans with his “Selling England by the Pound” and “Second’s Out,” tour, which was a sterling performance of much of Genesis’ best work. This tour also featured a first set of his solo material, almost all of it from his last years in Genesis or shortly thereafter. I would surmise that the expense of touring in the U.S. is more readily recovered by keeping with the hits, but I was disappointed that Hackett didn’t expand the audience’s exposure to more of his newer material, such as from Beyond the Shrouded Horizon.
2022’s “The Devil’s Cathedral” was a welcome inclusion in that regard, and “Every Day” is an easily accessible song regardless of the era. The highlight was “Shadow of the Hierophant,” a song co-written with Mike Rutherford that was considered for Foxtrot and demonstrates Hackett’s composing skills which he felt were limited within Genesis. Hard core fans love the song and the vocals by Sally Oldfield (sister of Mike Oldfield). I’d argue that this instrumental version was better. The band took this is a much jazzier direction, and Rob Townsend deserves special credit for his contributions on soprano sax as well as tasty bass licks from Jonas Reingold . As a help to stun your friends in casual conversation, be sure to drop “hierophant,” a person who interprets sacred mysteries, and leave them scratching their heads.
After a 20 minute break, the band returned with “Watcher of the Skies. Sure it’s been 50 years, but whether it was discovered by a listener back then or over the decades, it’s a standout on its own and the best of hellos for fan expectations. “Time Table” is a lovely song, sung exceptionally well by Sylvan, comfortable in its melody without instrumental embellishments. It’s followed by “Get ‘em Out by Friday,” a much more aggressive song with time changes that support the lyrical humor and sarcasm directed at corporate greed. It’s a good song, but not a favorite. “Can-Utility and the Coastliners” is a song where Hackett had a lead writing role, roughly speaking to the hubris of kings. Musically, it covers a lot of ground fast, including a lovely acoustic intro and shining electric guitar and keyboard highlights.
“Horizons” is a beautiful classical guitar styled acoustic piece. It’s more than an intro but due to its placement on the album it nonetheless serves as one for the forthcoming epic. As one fan shouted out just afterwards, “Supper’s Ready!” Hackett acknowledged this with a wry grin and a nod.
“Supper’s Ready” is an album side, obviously not for everyone and not intended for casual listening. Retrospectively, it might be considered one of the joys years past when listeners enjoyed albums rather than songs placed in front of them. Lengthy progressive songs can be overwrought, repetitive and self-indulgent, but while many 70’s “epic” songs have become tiresome, “Supper’s Ready” holds fast. The lyrics are typically obtuse, touching on apocalypse, rebirth, mythology and similar frequently mined themes in progrock. But the songs shines as a collection of musical parts, also demonstrating Genesis’ growing mastery of transitioning between sections. The song varies in mood from soft melodies to appreciatively muscular rock. There may be some impatience getting to one’s favored parts, but once absorbed over the years, the whole sits extremely well. Like “Heirophant,” Townsend again shines adding nuances with flute and brass that supplement the original’s keyboard mimicry.
Nad Sylvan also deserves credit for re-presenting Peter Gabriel’s metaphorical and beloved lyrics during this show and over the years. Sylvan, himself a deep fan of the material, obviously has found his own meaning to the songs and expresses them well with his eyes and hands without recreating Gabriel’s theatrical distraction. While the lyrics are beloved, the tour is for the music and Hackett’s role in it. If you’re a Genesis fan (and you are if you’re reading this), Sylvan’s album Unifaun should be a priority listen.
The encore featured “Firth of Fifth,” may it live forever. Roger King’s keyboards shone throughout the evening, but this song is the perfect marriage of keyboard and guitar solos. Craig Blundell played a drum solo before leading into the closer “Los Endos.” Having toured and recorded with many artists in addition to Hackett, he’s obviously a fantastic drummer, and his technical ability was demonstrated throughout the evening, especially on “Hierophant.” But even drum solos should have their own earworm, and I didn’t catch one here. “Los Endos” itself is percussive treat, as is Hackett’s guitar. This closing included a mid-section of Hackett’s “Slogans” from 1980’s Defector, vaguely familiar at the time and a welcome variant to the closing number.
Overall, this was a fantastic concert, and any opportunity to catch Hackett is a great one. In addition to his musical instincts, he taps, sweeps, and nuances the tremelo as well as anyone. Also, Center stage was the perfect local venue for Hackett fans, including the tiered seating (with renovated seats), outstanding lighting and clear audio fidelity.
Setlist:
Foxtrot at Fifty:
Encore:
