Steve Hackett - Live Magic at Trading Boundaries
My last post about Phil Collins drew some comments about the importance of Steve Hackett to Genesis and appreciation of Collins himself. This week sees the release of a new Hackett live album.
I’ve previously written about Genesis and music from the Genesis universe in these posts: Genesis - Selling England By the Pound | Phil Collins - No Jacket Required | Peter Gabriel - 3 (Melt), Us, i/o).
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Steve Hackett has carved out a role as the keeper of the early Genesis songbook, ensuring these songs are played live regularly now that the mother band are no more. There are also several excellent Genesis tribute bands, but of course, none can claim they have an ex-member of the band driving their musical direction. And, as demonstrated here on Live Magic, playing old Genesis tunes is only one part of Hackett’s portfolio. He continues to write new material and release albums with his band, the most recent being The Circus and the Nightwhale - a very different beast from Live Magic - a loudly rocking concept album.
Hackett joined Genesis, as did Phil Collins, for the release of their third album Nursery Cryme. He remained with them for six studio albums, saying goodbye after Wind and Wuthering. He can also be heard on two live albums, although (allegedly) his guitar was lowered in the mix of Seconds Out because he’d left by the time it was released. There’s plenty of Genesis material for him to mine, and long may he continue to do so.
To Hackett’s credit, he frequently does more than merely recreate the Genesis sound. For example, his version of I Know What I Like (In Your Wardrobe) (not included in Live Magic) has a jazzy edge absent in the original, although it’s also great fun:
Live Magic represents the softer, more acoustic, aspects of Hackett’s guitar playing. Trading Boundaries is an intimate venue in East Sussex, and Hackett designs his small-scale acoustic show accordingly, as an annual date.
To give you an idea of the venue (I’ve never yet visited), this is from their website:
“At night our entire building transforms into an intimate music venue, hosting live performances from world-class musicians on our candlelit stage. Due to the intimate nature of the venue you will never be more than 40 feet from the stage. Expect incredible acoustics and an electric atmosphere.”
So, what of the Genesis ‘covers’ on display here? After a brief guitar improv, the show begins with the acoustic introduction to Blood on the Rooftops from Wind and Wuthering, sounding as fresh and beautiful as it always has. Next is Horizons, the introduction/prelude to Supper’s Ready, although here we get the solo track Jacuzzi next, with Hackett now joined by the band. The arrangement takes this track into baroque classical territory. As everywhere, these arrangements of familiar material invite us to listen to them afresh.
Then it is an excerpt from Supper - the closing, quiet section of Willow Farm. My audio memory wants the rest of Supper with pounding drums and the rest, but it’s not that kind of show. Yet this is the start of a short Genesis suite, flowing into After the Ordeal (from Selling England By the Pound), and finally Hairless Heart (from The Lamb Lies Down on Broadway), reminding us how lovely many of those early Genesis passages could be. The interplay between guitar and flute here, and the slightly slower timing in comparison with the original, allows this haunting melody the room to breathe.
Steve Hackett - Trading Boundaries, Fletching, East Sussex - 21 January 2024. Photo: Adrian Stonley/MetalTalkggh52454
Most of the album, though, is made up of Hackett’s solo songs. The more I think about it, the more the range across his repertoire is astonishing. He started with what was, effectively, an alternative Genesis album (Voyage of the Acolyte - the track Ace of Wands is played here, far from its electric roots and showing the strength of his writing.) It’s said he left Genesis because too little of his material was accepted by the band; over the years, he has shown what a loss he was to their musical palette.
He’s recorded albums of acoustic/classical guitar, and three pieces from Bay of Kings allow him scope to play in that style here. He’s recorded heavier rock albums, and the tracks originally from albums such as Guitar Noir and Spectral Mornings played in this concert are suitably rearranged to suit the acoustic vibe.
Elsewhere the other band members get a chance to shine. Hackett’s brother John plays the flute, adding an authentically early-Genesis feel. Amanda Lehmann is the band’s second guitarist and vocalist. She takes centre stage with two of her songs - Memory Lane is poignantly reflective. These fit the mood perfectly - she’s often to be found on vocals on Hackett’s tours (her sister Jo is married to Hackett, but she’s there on merit). Keyboard player Roger King, as well as being a vital element throughout, takes to the venue’s powerful organ for an excerpt from the Poulenc Organ Concerto. Shades of Wakeman/Emerson prog excess? Not really, because again this fits the show and the mood.
Hackett is a guitarist and prog rocker who is frequently on top of his game. He frequently releases live albums to prove it, and this album is another example of his versatility.
Coming next on LP: Pete Townshend Live in Concert 1985-2001
Nice one, Ian. I think Hackett is regarded, by most (if not all), '70s Genesis fans, in high regard. I remember we awaited the drop of Voyage of the Acolyte, and had heard it was going to be (as you asserted) a bit of an "alt-Genesis" album, and we weren't disappointed!
His Genesis contributions seemed to be mostly atmospheric, but one of my fave moments of his is his epic pick scrapes on "Watcher of the Skies" (my all-time favorite Genesis song, and not just because it was the first one played for me by a friend at the time of its release)! As a player, I kinda think of Hackett as the equivalent to Eno's keyboard contributions to Roxy's '70s output! Rarely the lead, he was there to augment...you may not notice he's there, but you'd miss his sound were it absent!