There are those who will tell you that reviewing a new act, or at least one you have never heard of before, is a sight harder than writing about an established one, a veritable superstar in the world of intelligent music. Don’t believe a word of it. Steve Hackett has been a central player in progressive rock music for over 50 years now, and, to this reviewer’s mind, it is much harder to write something new and interesting about such a respected act as opposed to one starting out on their journey, especially those brave souls coping with the dire commercial circumstances of this modern era. We will, however, try our best!
The Circus and the Nightwhale is, by my reckoning, Steve’s twenty-ninth original solo album. It is forty-nine years since he began to break away from Genesis with Voyage of the Acolyte, a work which still stands up strong in 2024.
I have seen a few comments on the usual forums complaining that this album sounds much like the past few works, that Hackett is not moving, or “progressing” enough.
It is the case that Hackett has settled into a broad sound and way of recording in recent years. It is also true that one can very much draw a line between, say, 2009’s Out of the Tunnel’s Mouth and this work, but to make a simplistic statement that they all sound the same is to miss the intelligence, nuance, and experimentation inherent in this wonderful musician’s output. At 74 years of age, Hackett looks great, plays like a dream, and is still capable of pulling off surprises in his music. There is a track on this album which I rank as amongst his finest, up there with favourites such as Shadow of the Hierophant – more on this later.
Released on Inside Out, Hackett has again assembled a nice range of guests, but specific mention should be given to his core touring and close friend artists, namely long-time collaborator Roger King, whose arrangements are critical to the modern Hackett sound, the wonderful Amanda Lehmann, Nad Sylvan who contributes vocals and guitar on Taking You Down, Jonas Reingold who is one of the finest bass guitar exponents of modern times, and Craig Blundell. We also have brother John (not number nine) with flute on Enter The Ring, Rob Townsend on a couple of tracks, and Nick D’Virgilio drumming on the opener.
So, what do we have here?
Hackett is quoted as stating that he wants to create vision with sound, a motion picture of music (I paraphrase somewhat). Opener People of the Smoke opens with classic sounds, the Ovalteenies, Chicken Pathe news, a steam train, sounds which predate even classic Genesis! The orchestration of the main opening passage to Big Ben chimes and a stirring Hackett riff is magnificent, before the track settles into quite heavy jazz rock. The voice, the choral voices, the arrangements are akin to the comments I referred to above, but this track has so much more going for it, some very dense sounds evoking the physical strain of running a locomotive, some chaotic guitar riffs, a drama set to music racing along the tracks and a war scarred, smog-filled city. There is an official video for this, incorporating what must be childhood memories and I have embedded it below. Quite exceptional, quite stirring, and really quite unlike anybody else you will hear this year.
These Passing Clouds is a short orchestral piece with a sad guitar lead. It reminds me a wee bit of some of Blackmore’s more tender moments such as Vielleicht Das Nächste Mal (Maybe Next Time) and it segues quietly into Taking You Down which opens with some harsh lead guitar notes and a fantastic rhythm section (there is a harder overall tone to some of this album compared to predecessor works), and of huge note is the exceptional sax lead Townsend produces, a key instrumental highlight of 2024 thus far. Dark, far reaching, and very good, it combines classic rock, hard jazz, heavy Americana, and is, therefore, about the archetypal eclectic piece of music,
Found and Lost is another very short piece featuring a pretty acoustic guitar and dreamy programming on the keys before we are transported to a smoky bar, the promise of love epitomised in the jazz-infused notes. The rain at the end gives way to Enter the Ring. Lehmann provides very soulful vocals alongside Hackett in a playful funfair track with a massive nod to those travelling fairs which in the day would almost fill a small town. The flute solo from John is rather Andersonian.
Get Me Out has some gorgeous ghostly guitar licks and then firm riffs with some crashing drums but is not overly memorable as a whole piece.
Ghost Moon and Living Love is a terrific title, and it is the longest standalone track on the album, although this is still short of seven minutes. Lehmann’s choral impact is simply beautiful, thoroughly moving and as it develops, this is a very strong pop/rock track featuring the type of delicate guitar work for which Hackett is so famous, and I might add that his voice here is perfectly suited to the love without end narrative. This is a terrific piece of music, which surrenders something new to the aural senses each time it is played. The final couple of minutes will bring a smile to those who loved his 12-string work back in the day amidst the return of the dreamy vocals we heard at the start. A cracking love song and quite obviously rather personal to its author. I have embedded it below.
Following this are three short tracks in order, Circo Inferno, Breakout, and All At Sea. The first swirls in a song full of eastern mystery, with crunching drums and another wild sax solo. The second is a heavier rock loop with some interesting programming amidst drum and guitar. The third continues the riffing, with a Hammond and guitar duet which brings classic Purple to mind, but with a definite sense of being utterly lost and the depths waiting to consume with their ghostly (ghastly) cries.
We then move into the final trilogy of songs, which starts with the title track. There is an official audio video of this, which I have embedded below. It is so broody, some almost frightening noises, with the chugging and dystopian instruments very subdued before they sort of spring on you. The Hackett guitar is a wonder to listen to as the track explodes into an orchestral array of noise, some beautiful noises produced by King especially, and I defy anyone to knock Hackett singing when he produces such a delicate voice in a lyric I personally interpret as him stating he would do anything for his love, including sacrificing himself into the leviathan’s mouth, starkly closing with the most achingly lovely guitar notes to introduce us to Wherever You Are, which is quite simply the finest solo song I have heard this incredible artist perform. Ridiculously catchy and enticing vocally, some anthemic guitars, Reingold and Blundell combining to wonderful effect, symphonic keys, female, and male voices inviting us in, with the closing passage as about as soaringly proggy as it is possible for a song to get.
White Dove brings us gently back down to earth, a sumptuous acoustic guitar piece which cries out a common humanity desperate for some peace and love.
We are lucky that in 2024, Steve Hackett has provided us with what might just be his finest album in the round. As creative as ever, certainly not losing any of his chops, and surrounded by so much talent, he produces music and lyrics here which speak to the human condition. I find it all deeply moving and hugely impressive. Long may he continue. I might add that going back to the beginning of his solo journey, and that departure from a band on the verge of superstardom, Hackett made the right decision, both for him and his erstwhile colleagues. He needed his artistic space, and what a body of work he has given us, this latest fine addition a prime example.