Steve Hackett - Portsmouth Guildhall Thursday 3rd October 2024

Hackett's current outing is billed as 'Genesis Greats, Lamb Highlights and Solo', and starts with a selection of his impressive solo work. It's a mark of confidence in his new material that the show commences with three songs from latest album 'The Circus and the Nightwhale', but feels justified given how well these numbers hold up next to the established favourites. In fact, 'People of the Smoke' demonstrates everything that is so wonderful about a Hackett performance; his enviable guitar prowess backed by masterful musicians who also contribute spine-tingling harmony vocals. 'Circo Inferno' is uncharacteristically catchy and concise, the relentless riff heavier than you might expect, particularly in its live form. But the bombast is always balanced with beauty, in this case, 'These Passing Clouds', a truly elegant instrumental. 

It's a delight to discover 'The Devil's Cathedral' has maintained a place in the set, an atmospheric story of betrayal that is both theatrical and compelling. And it would be remiss not to mention multi-instrumentalist Rob Townsend who lends ominous soprano saxophone to this sinister tale, but throughout the evening, picks up various flutes, percussion and saxophones, playing them all so naturally that you wonder how it's possible for one person to be so talented. 

'Every Day' brings familiarity and some wonderful twin guitar interludes, a song that is somehow even more moving when the words stop and the instrumental section takes hold. Anyone doubting Hackett's diversity need only listen to 'A Tower Struck Down' to realise that he can do menacing just as well as beautiful, the angry stabs of guitar that precede the lumbering riff lending a real sense of unease. It's from here that we're led into a bass solo courtesy of Jonas Reingold that somehow holds the audience spellbound, so much that when the sound drops away, the silence is broken only by a lone voice shouting an enthusiastic "yeah!".

'Shadow of the Hierophant' is utterly majestic and the perfect crescendo to the first set. Amanda Lehmann lends haunting vocals to verses that interspersed with passages of weeping guitar before the song is transformed into something hypnotic, cyclical, the drumming becoming increasingly thunderous until the rhythm section is so powerful you feel it right through to your chest. 

Not the most consistent or accessible of Genesis' early albums, 'The Lamb Lies Down on Broadway' remains divisive in its 50th anniversary year. But, whatever you think of the unwieldy concept work, it certainly has its moments, the best of which are presented tonight. Hackett half jokes that he's opted for the songs where he's afforded the chance to play more than a couple of notes. In an album dominated by keyboards, Hackett shines on 'Hairless Heart' which is even prettier this evening that it ever was on record. Unsurprisingly, every song in this section is greeted rapturously, some not played live by Hackett for many years. Long time collaborator Nad Sylvan once again steps into Peter Gabriel's shoes with seeming ease, his passion for the source material evident in his delivery. Sometimes singing from an elevated platform at the back of the stage, there is spectacle in the light show that sometimes sees the vocalist draped in shadow or swathed in smoke. The title track is followed by 'Fly on a Windshield' and 'Broadway Melody of 1974'. For many, this is what they came for. To hear new life breathed into 'The Chamber of 32 Doors' and 'It' is a real treat, the latter bouncing with real jubilation.

We're promised a few other surprises, many of which are taken from 'Selling England by the Pound'. 'Dancing with the Moonlit Knight' might be an unlikely singalong, but it becomes one all the same, a rare moment where this audience breaks free from its mesmerised state. 'The Cinema Show' follows, audible sounds of joy emerging from those around me, before segueing into 'Aisle of Plenty', just as nature intended. 

Roger King's keyboards signal that it's time for 'Firth of Fifth', a song that feels an essential part of any Steve Hackett show, not a conventional hit, but much beloved by Genesis fans and suitably epic in scale. A formidable drum solo ensues, Craig Blundell seemingly throwing his entire body into a performance that eventually introduces 'Los Endos'. And just in case the original Genesis track wasn't quite epic enough, Hackett's own 'Slogans' riff is integrated seamlessly.  

As I prepare to leave the Guildhall, I find myself questioning if we even really need the Genesis reunion that so many yearn for; from where I'm sitting it sounds like Hackett and his band have it pretty well covered. There's plenty of opportunities to catch them across the UK over the next few weeks - don't miss one of the finest live acts this country has to offer.