Prog is alive and well on Steve Hackett’s "Genesis Greats, Lamb Highlights & Solo" Tour

★★★★☆ (4/5)

**STEVE HACKETT PERFORMING AT YORK’S BARBICAN CENTRE**
**PHOTOCREDIT: JOHN HAYHURST**

I came late to the party with Genesis, ‘Abacab’ was my first experience of them and both Peter Gabriel and Steve Hackett had long gone by then. It was actually Tommy Vance’s BBC Radio1 Friday Rock Show that brought Steve Hackett to my attention when he played ‘Spectral Mornings’ and ‘Every Day’ one night. Immediately hooked with its proggy grooves, I had been listening to a lot of Yes and Rush and this fitted perfectly in that same slot. Then I discovered the old Genesis which felt like a completely different band from what I had just seen on the TV.

Tonight, unusually for me I am below the average age of attendees, which must surely start with a 6. There are more grey beards than shaved and plenty of assistance sticks needed and frequent trips to the loo.

However, we are all here for a masterclass in musicianship and nostalgia, a blend of the golden age of progressive rock with fresh takes on Hackett’s own expansive solo work. In this his latest performance in York (a city he loves as he has stayed two nights already) he managed to encapsulate decades of musical evolution into a single night, sending waves of emotion through the crowd with both classic Genesis tracks and his own intricate solo compositions.

Let’s start with the band - Roger King (keyboards), Nad Sylvan (vocals), Jonas Reingold (bass, backing vocals), Rob Townsend (saxophone, flutes, additional keyboards) and Craig Blundell (drums) have brought many of these old Genesis albums back to the concert hall to great acclaim. Special guest, Amanda Lehmann joins them this time on additional guitar and vocals.

The setlist was a meticulously arranged blend of Genesis classics, highlights from ‘The Lamb Lies Down on Broadway’, and selections from Hackett’s solo catalog. This dynamic combination gave the evening a sense of balance and depth, allowing Hackett to flex his versatility as both a guitarist and a composer.

The concert opened with 3 tracks from Hackett’s brand-new album ‘The Circus and the Nightwhale’. ‘People of the Smoke’, ‘Circo Inferno’, and ‘These Passing Clouds’ although as he broke a string on the first number there was a brief pause to swap to his other guitar. I get to hear a live version of ‘Every Day’ too from the ‘Spectral Mornings’ album and a thumping bass solo (yes really).

The sound was lush and layered, each instrument contributing to the symphonic tapestry that Genesis became known for in their progressive heyday. Yet, it was Hackett’s guitar work that constantly stole the show. His command over tone and phrasing brought new life to these old tracks, reminding the audience of his crucial role in shaping Genesis’ sound during the 1970s. In his solo material, Hackett’s versatility as a composer shone brightly. Songs like ‘Shadow of the Hierophant’ revealed the breadth of his musical vision, blending folk, classical, and jazz elements into progressive rock frameworks.

The stage design was modest but effective, with atmospheric lighting and visual projections that complemented the music without overshadowing it. Hackett’s interaction with the audience was genuine and humble, as always. Between songs, he shared anecdotes from his time with Genesis and insights into the compositions, creating a warm, personal connection with the crowd. His gratitude was palpable, and his sense of humour—dry and understated—added to the charm of the evening.

The second half of the show focused heavily on highlights from ‘The Lamb Lies Down on Broadway’, a defining concept album from Genesis' Peter Gabriel-era. Hackett’s rendition of ‘Fly on a Windshield’ was hauntingly atmospheric, driven by moody guitar swells and accompanied by Roger King's shimmering keyboard work. The journey through ‘The Lamb’ was a rare treat for fans, as Hackett explored some of the more intricate, less-performed sections of the album, including the powerful ‘The Lamia’. Hackett brought precision and warmth to these pieces, rekindling the operatic grandeur of the original record while giving it a fresh, modern edge.

Hackett’s band was at the top of its game. Nad Sylvan, handling the demanding vocal duties originally helmed by Peter Gabriel, brought an emotional, theatrical presence to the performance, particularly during The Lamb material. His voice, rich and versatile, conveyed the narrative depth of songs like ‘The Carpet Crawlers’, where his falsetto was both eerie and moving. Sylvan's ability to channel the dramatic flair of Gabriel while still adding his personal touch was impressive throughout.

The rhythm section—Craig Blundell on drums and Jonas Reingold on bass—anchored the set with tight precision. They handled the complex time signatures and abrupt tempo changes of Genesis' music effortlessly. Blundell’s drumming during “Los Endos” was especially remarkable, bringing a thunderous close to the encore with explosive energy and intricate rhythms. Reingold’s bass, meanwhile, was melodic yet grounding, particularly on tracks like "Firth of Fifth," where he beautifully underscored Hackett’s iconic guitar solo.

Keyboardist Roger King brought a modern twist to Tony Banks’ timeless keyboard parts. His performance was atmospheric yet punchy, especially during the dense sections of The Lamb, adding a richness.

Saxophonist Rob Townsend also added a surprising yet fitting texture to several tracks, his improvisational skills adding fresh, jazzy flourishes to the performance.

The crowd was clearly filled with die-hard Genesis fans, many of whom had waited decades to hear these songs live in this format. There was a palpable sense of reverence throughout the performance, with fans cheering at every familiar melody and nodding heads for every time signature change.

At the centre of it all was Steve Hackett, whose playing was both elegant and ferocious. His signature finger-tapping technique, fluid legato runs, and controlled vibrato were on full display, yet what stood out the most was his ability to fuse technical mastery with emotional depth. Hackett’s performance of ‘Firth of Fifth’ was, predictably, a highlight—his phrasing during the iconic solo brought the audience to their feet in applause (well those that could get on their feet). Even though many have heard this solo countless times, Hackett manages to make it feel fresh every time, with subtle changes in dynamics and tone.

Steve Hackett’s "Genesis Greats, Lamb Highlights & Solo" tour is a gift to progressive rock fans, a celebration of the intricate, boundary-pushing music that defined a generation. For those who cherish the complexity and emotion of classic Genesis, as well as Hackett's own profound contributions to the genre, this concert is an unforgettable experience. Hackett continues to prove why he remains one of the most respected and innovative guitarists in rock, effortlessly bridging the past and present while keeping the progressive spirit alive.

Dave Gilmour might be selling out huge arenas this week but for anyone who admires the artistry and ambition of 1970s progressive rock, Hackett’s tour is more than a nostalgia trip—it’s a testament to the lasting power of music that dares to explore beyond the mainstream.