Friday 11 November 2022
Wembley Arena, London
Triumphant return of the band to London after 12 year hiatus
Image credit: Mike Holmes
Last time Porcupine Tree played in London was just over 12 years ago, in October 2010. As band leader and main songwriter Steven Wilson recounts in detail in his new book Limited Edition of One, what should have been a career highlight performing in front of a sold-out Royal Albert Hall left him feeling empty. He walked away to pursue an increasingly successful solo career, leaving fans and critics wondering whether the band would ever record together or play live again. Then in June 2022 a new album appeared, Closure/Continuation followed by a tour that ended, appropriately in London again, at a packed Wembley Arena.
It would be presumptuous to assume any intimate knowledge of Wilson’s inner psyche, but he seemed to be in a very different mood this time. The fact that the band have already announced they are playing more dates at summer festivals next year suggests that he’s enjoying himself again. He seemed relaxed and happy to be onstage. He had every right to be. The sound was very good, the video back projections were varied and interesting, the lighting impressive, and the audience attentive. Most importantly, Wilson was in excellent voice, and the band at times were so locked in with each other they felt like the limbs of a single creature rather than individuals.
During Collapse the Light into Earth, mobile phone torches were raised by the audience, gently swaying in a sea of lights. Wilson, playing keyboards in this gentle, melancholy ballad was distracted by such a moving sight, saying that he forgot the words as a result. Some audience members turned away from the stage to survey the communal emotion. Near the end, Wilson tried to introduce a song and the persistent applause stopped him from speaking. He has been on a 30 year journey, always carving his out own path but sometimes wondering why his exceptional songwriting ability, fine musicianship, stunning work as a producer and re-mixer and surround-sound guru, deep insights into the contemporary condition and ability to attract virtuoso musicians to work with him have not resulted in the commercial success he deserves. So it was poignant that he chose to play Buying New Soul, one of Porcupine Tree’s hidden treasures, which describes Wilson’s continuing fight against the music industry – ‘I still rage and wage my little war’. The song ends with the depressing concept of selling out, of buying a ‘new soul at the start of every year’. Wilson no longer needs to worry about compromising his artistic integrity – his last two solo albums and the new Porcupine Tree album all made the top five in the UK. And he played to over 12,000 fans tonight, despite mostly being ignored by the media, television and radio.
The new album represents the first time Wilson collaborated with other band members in writing songs, and the concert felt like a true band effort rather than Wilson with a backing band. Richard Barbieri on keyboards provided his usual atmospheric synth washes but also some prominent solos, worthy of Pink Floyd’s Richard Wright. Gavin Harrison on drums was subtle and loose-limbed, organic and human, never showy but always virtuosic. Wilson jovially announced the two new members of the touring band, American musicians Randy McStine and Nate Navarro as coming from New York and Texas (which apparently are now part of the British Isles … who knew?) McStine was a revelation, a superb guitarist who provided distinctive solos. He not only contributed backing vocals but at times shared lead vocal duties with Wilson, testament to the quality of his singing, and the deserved confidence Wilson placed in him. Navarro brought tasteful bass playing, successfully filling the gap left by the band’s previous bass player Colin Edwin. The performances were excellent throughout, but highlights included Sleep Together and Halo when the band locked tightly into Harrison’s drumming to create rhythmic perfection. And it was a joy to hear the long prog rock anthem Anesthetize played live in full, just as Nick Mason recently toured the Pink Floyd epic Echoes .
The new album was well-represented and the tracks stood up well in comparison with older classics from Fear of a Blank Planet and In Absentia. It might have been better to have grouped together more of the tracks from different albums for the sake of stylistic consistency but that was a very minor issue. The backing videos added a greater emotional depth to many of the songs. Herd Culling showed a wolf drenched in blood-red light, a miniature horror film.
The video for Sleep Together depicted multiple robotic creatures like the monster in Alien. The title track from Fear of a Blank Planet illustrated the song as an anthem for doomed youth. Perhaps the most moving of all was a new black and white video for Dignity based on the lyrics ‘Lost soul/Camped at the side of the road’ reminding us that rough sleepers still live on the street in the twenty-first century.
Wilson said the band would end the concert with a medley of rock classics including Sweet Home Alabama, Free Bird and Purple Rain. Before the audience recovered from its surprise at this, Wilson announced that the band would instead play the nearest that any of his ‘failures’ has been to being a hit, Trains, which has now been streamed over 27 million times on Spotify. Wilson has proved that he no longer needs to worry about ‘buying a new soul’ every year; his refusal to compromise has finally led to chart success, a loyal and devoted following, a reputation as one of the best re-mixers … and one of the best live experiences around.