Live Review: Steve Hackett and friends breathe life into ‘Foxtrot at 50’
Steve Hackett had a front row seat to some of the most important and creative records of the ’70s prog-rock movement, and he also had his hand at the controls as well. With Genesis closing out its touring days in 2021 and Peter Gabriel showing no interest in revisiting his time with the band, your options to see the material played live are either via a tribute band, or through one of the actual creators. Hackett assembled a great band around him, and they don’t bother with the cosplay associated with re-creating the costumes or visuals from the original period. Though I wouldn’t have minded Nad Sylvan having a go at donning a giant fox head. Let’s not get ahead of ourselves, as the first part of Hackett’s set on October 12 at the Wilbur Theatre on 246 Tremont Street in Boston within the city’s theater district was a glimpse at some of his work after he left Genesis, which is substantial.
There was a funny moment as he walked out on stage after someone shouted something he didn’t get. Adopting a heavy posh accent, Hackett said “‘I’m sorry but I only speak English, and I can’t understand a word you’re saying.” Most of the focus was on the ’70s stuff, including the opener “Ace of Wands”, but he’s still putting out some nice material. The muscular “The Devil’s Cathedral” came out just a couple of years ago via Surrender of Silence and the heavy throb of Crimson’s Red-era was draped over “A Tower Struck Down”. It was unfortunately followed by a lengthy bass solo, serving as a clear reminder that the excesses of prog-rock are never far away.
Onto the main course, which got the crowd of old, white men into a relative tizzy. “Watcher of the Skies” with its distinctive keyboard vamps set the course and we were off. There weren’t any fox heads or red dresses, but Sylvan did come out with a pair of glowing eyes and later a telescope. A lot of people think Eddie Van Halen was the first person to fret tap while playing guitar, but Hackett was doing it a few years prior. He was also not afraid of using his palms and tremolo bar to create diving whooshes during some solos.
“Get ’em Out by Friday” is likely the punchiest song on the record but it’s the 20-plus minute epic “Supper’s Ready” that’s the crown jewel. Hackett’s playing is still superb with very little loss of virtuosity as far as I could tell, and his band expertly filled in the foundations and sonic nuances that the material demanded. You know you’re not going to leave a Hackett show without hearing “Firth of Fifth”, but that’s also like Katz’s Deli running out of pastrami. It’s not only unheard of, but also severely disappointing if that day ever comes. Quite simply, it’s one of the most beautiful songs of any genre and in the prog rock circle, only Robert Fripp’s guitar line in “Starless” can stand in its class.
Go judge for yourself and tell me your neck hairs don’t snap to attention. Pure genius, Steve. Well done once again.
