Photo Credit: Kevin O’Sullivan
As a devoted fan, seeing Steve Hackett live at the Royal Albert Hall this week felt like a pilgrimage. The setting could not have been more fitting. With its grandiose architecture and rich history, the Royal Albert Hall has hosted countless legends, but tonight it was all about Hackett, his band, and the music that has shaped generations of progressive rock lovers. From the first note to the final encore, Hackett delivered a performance that was nothing short of mesmerizing, reaffirming why he remains a revered figure in music.
The evening kicked off with Hackett’s recent work, and it was incredible to see how these new compositions have evolved. He opened with a few songs from his Surrender of Silence album, a testament to his relentless creativity and exploration of new sounds. Tracks like The Devil’s Cathedral and Shadow of the Hierophant showcased Hackett’s passion for blending rock with world music influences, taking the audience on a global journey even while rooted in that quintessential Hackett sound. The Royal Albert Hall’s acoustics enhanced every nuance, every high and low, making it feel as though each guitar note was tailored to resonate perfectly with the room. The sound quality was truly something to behold, crisp and clear, yet warm and intimate—qualities that aren’t always easy to achieve in a venue of this size.
And then, of course, came the classics—a trip down memory lane with Genesis material that had the crowd captivated. The excitement was palpable as Hackett launched into Dancing with the Moonlit Knight and the beloved Firth of Fifth, transporting fans back to the golden age of progressive rock. His legendary guitar solo on Firth of Fifth was a particular highlight of the evening as was Carpet Crawlers, Los Endos and, indeed, all of the classics performed and executed with perfect mastery that made it impossible not to feel chills. The audience was entranced and each note seemed to carry with it a piece of rock history, and the respect Hackett holds for these songs was evident in his flawless execution.
The band Hackett assembled was equally phenomenal, each member bringing their own unique touch to the performance. Roger King on keyboards provided lush layers, crafting atmospheric soundscapes that complemented Hackett’s guitar perfectly. Meanwhile, Jonas Reingold on bass and Craig Blundell on drums were the heartbeat of the set, laying down powerful rhythms that grounded even the most complex passages. Vocalist Nad Sylvan delivered a standout performance, especially during The Cinema Show, his voice effortlessly filling the space and adding depth to these cherished songs. Also, at various points during the evening, the band were joined by special guests John Hackett (Steve’s brother) and Steve Rothery (Marillion) who added to the overall quality of the evening in particular during an extended version of Fly on a Windshield.
During the night, the Royal Albert Hall became more than just a venue—it was a character in the performance. The venue’s iconic circular design allowed Hackett’s soaring guitar tones to reverberate beautifully, creating a sense of warmth and intimacy rarely matched by other concert halls. The lighting, too, was a standout, casting deep blues, greens, and golds that bathed the stage in a surreal glow, adding a visual element that enhanced the music’s immersive quality.
By the time Hackett concluded the night with an unforgettable rendition of Los Endos following a five minute drum solo from Craig Blundell evoking memories of Phil Collins and Chester Thompson from a bygone age, it felt as if the entire hall had been on a profound journey together. Hackett didn’t just play music; he painted scenes and told stories that resonated with every listener. Walking out of the Royal Albert Hall, one could feel the shared joy of experiencing a master at work—a musician who, decades on, continues to captivate, innovate, and honour his fans with every performance. For us devoted followers, it was a night that will resonate for a long time.
Written By: Kevin O’Sullivan
