Another prog-rock marathon. The same location, edifice, scene, corridors, armchairs and in many cases… still the same faces of the fans. I don’t repine. It just grieves me that there is a dearth of such musical days organized by Metal Mind. I harbor a dream of putting on the shows of that kind once a month, or once a week for a better. Every Monday – I reckon that solution is the best.
The 5 hour-long show in the Teatr Slaski was commenced with the appearance of Final Conflict - the progressive band that is just paving its way in Poland. There are two leading guitarists/singers in an aforementioned group: Andy Lawton and Brian Donkin. This phenomenon is undeniably something of a scarcity. The musicians were supported by long time member Steve Lipiec - the keyboard player, who contrary to what his surname might imply, doesn’t speak a word in Polish (which I verified over a beer). The very young representatives of a rhythm section were Henry Rogers and Barry Elwood.
They staged one and half hour show interpreting their hits “Stand Up”, “Stop” and above all - “Following”. Initially they played exceptionally well (marvelous opening in the form of “Solitude”). Later on, the artists experienced their ups and downs. I mean the band weren’t suitably amplified, presumably. On reflection, their music didn’t bear the hallmark of the refined sounds found on their records. These tunes resembled the ordinary noise, at times. In the middle of their concert, the audience could hear incredibly dynamic song “Rebellion” which gave a signal for sheer high jinks on the stage, being amazingly complemented by the percussion solo by Henry Rogers. When speaking with him later at the bar, to me, his appearance was tremendously reminiscent of that of Tom Chaplin’s from Keane. Afterwards, the band rendered songs: “All Alone”, “The Janus” and as an encore, they also regaled us with “Waiting For A Chance” from their most popular album “Quest”. Objectively stating, the presented show was an average success. The louder does not necessarily mean the better. Having probably mixed both notions, the band involuntarily revealed its metal face still having barely anything in common with this particular genre. All in all, it is to be fairly acknowledged that Final Conflict perfectly proved by the first part of the show that it is a remarkable ensemble, having two singing guitarists not being the foremost reason for my saying this. Straightforwardly speaking, my attitude towards these people is special. That specific evening, after the show, in the foyer of the theatre I met in person Andy Lawton for the first time, with whom I had corresponded for close on twenty years. When introducing him to my daughter, I made mention of the fact that when he had sent me their album “Quest” we were celebrating her second anniversary, for which, he replied: “Artur, it seems that we are the elderly people”. Elderly or not, but Mr. Lawton, you are still very talented musician and play the guitar like no one else!
The performance of Final Conflict was followed by the spectacular as well as magnificent Credo show. This time, the hall was amplified properly, in all fairness. Tints of neo-progressive music, sounded excellently and not excessively originally, though. No one seemed to grudge about it, especially if they played without inhibitions, inessential ramblings nor swank. The musicians displayed, no doubt, the abundant in neo-progressive accents unpretentious demonstration of their capabilities. The band performed entirely (yet in an altered order) recordings from “Rhetoric” album. In the middle of the show, the artists dexterously entwined a few tracks from their first record “Field of Vision”(namely: “Power to the nth Degree”, “Phantom”, “Rules of Engagement”, “Goodboy”). They also presented the premiere musical epic piece “Round’n’Round” (two phenomenal guitar solos captured my attention at this point), from the new studio album, that is to be released next year.
The frontman Mark Colton, that day having been in his sensational form, appeared marvelously. He was completely reveling on stage to say the least. The keen followers of Colton gave in to his cheerful frame of mind, when watching him putting on balaclava helmet, running around the stage, toying with the filming video camera and admiring his hilarious announcements of the subsequent musical works. At some stage, he enumerated several people to have had an influence on Credo doing show in the Teatr Slaski. Mark, I appreciate your warm words. Thank you, it was really nice!
The lovers of progressive rock were also enraptured by appealing guitar solos. Tim Birrell proved to be like a wine of a top quality - the older he is the better he plays. Tim rendered the songs in so touching way that many a time his polished play elicited well-deserved standing ovations. I sense an impression that in his playing manner he may be the like of young Steve Rothery. Nevertheless, such musical pieces as “A Kindness” harked back to sounds characteristic of Carlos Santana. Credo’s performance was crowned by “From The Cradle To The Grave”. People gathered in the theatre were blissfully happy. Unbelievably enough, it appeared to me that the roof of the theatre started to soar somehow. The concert was met with a great acclaim. Standing ovations, being moved to tears, ecstatic shivers flowing up and down the spine… Indeed, it was one of the most solemn moments of that evening.
Pendragon, the highlight of the day, appeared on stage at 9:30 pm. Needless to add that the band played the building suspense, astounding gig lasting three hours. Essentially, they plunged into playing with “Walls Of Babylon” to subsequently continue with the classics: “A Man Of Nomadic Traits” as well as “Wishing Well” from “Believe” album.
They didn’t dazzle the listeners with compositions from the new album “Pure” still letting them admire hearing merely three fragments from the record: “Eraserhead”, “The Freak Show” and, at the end of the fundamental part of the concert, “It’s Only Me”. Generally, the new pieces of music were at a premium when compared with such classics as: “Total Recall”, “Nostradamus”, “Breaking The Spell” (presumably the best fragment of the concert), “Sister Bluebird”, “The Shadow”, “The Voyager”, “Masters Of Illusion”, “And We’ll Go Hunting Deer”, “The King Of The Castle”, and the breathtaking suite “Queen Of Hearts” played at the end with extremely catching fragment of “The Last Waltz” sang along with the audience.
Pendragon gave the concert of a matchless exquisiteness. Those, who stayed to the very end of it, could wait for the meeting with the band which was the usual charming self. The musicians still lapped up the attention. Although having been knackered, the members of Pendragon gladly and patiently posed for the photographs which were par for the course. The memorial photo sessions I bet, would have lasted to the dawn if it hadn’t been for the exasperated crew of the workers of the Teatr Slaski that unceremoniously turned out the ardent fans whom Pendragon affably delighted with a fine package: music that has a haunting beauty, pleasant photo sessions, and the cordial chit-chat after the show. In the tasteful set of tracks one didn’t hear neither “Indigo” nor “Comatose”, more’s the pity. I suggest that we still should recognize the put on show as a part of a tour commemorating the 30th anniversary of Pendragon. The classics served priority that day, which was most satisfactory indeed.
Small remark on the play of new percussionist of Pendragon - Scott Higham. On “Pure” album, his rendition doesn’t raise the slightest reservations, which doesn’t necessary function in live performance. At times, the band was drowned out by his percussion. Joe Crabtree would appear to bear the considerable reserves of humility, that’s why I get the feeling that he geared his play to fit the group much more than Higham. It occurs to me that technically, Scott mastered the art of playing the percussion outstandingly (the school of Mike Portnoy). He played aptly, avidly and lively – displaying his skills too much, once in a while, but mind you, I’m convinced he did his utmost. Other artists acquitted themselves eminently, as a rule.
DVD’s to be released at the beginning of the next year, shall cast our minds back to the unforgettable evening bountiful in three stunning performances of: Final Conflict, Credo and Pendragon.
1 am was about time I made tracks, so I started the car, and returned to Cracow. I was at home at about 3 am. The alarm clock aroused me from sleep at 7 am. That night, I was sleeping a bit, but how intensively. As soon as my head hit the pillow I sensed delightful notes jingling gently in my ears just to bring one question to my mind in the morning: “What am I doing next Monday? How about another prog-rock marathon in the Teatr Slaski in Katowice?...”
Translated by Agnieszka Muszyńska
