by photojournalist Jeffrey Moellering

Steve Hackett is practically a living embodiment of the cheeky idiom how “reports about the death of progressive rock have been greatly exaggerated”. His latest Clearwater tour stop titled “Best of Genesis & Solo Gems” was like stepping through a portal into the most vital eras of prog rock, with no trace of shame or apologies for excess required. Performing with a band as sharp and expressive as Genesis itself, Hackett delivered a two-hour plus show that balanced nostalgia, virtuosity, and weighty emotional resonance.

Hackett is every bit the well-mannered English gentleman; humble, understated, almost monk like. He doesn’t waste time and gets right down to business, fully respecting the musical IQ of his audience. And when his guitar begins to sing, the room becomes almost like a cathedral. His tone, still hauntingly lyrical after decades, filled the venue with the same clear sustain and majestic phrasing that first defined his Genesis years.

Each solo was carefully sculpted, never becoming indulgent. Hackett plays not to show off his clearly impressive technique, but to elevate the music’s message, and that restraint remains one of his superb gifts. It’s clear that Hackett has been an influence on many modern metal gods, with his nod to two-handed tapping and sweep-picking. With Steve, it’s not about how many notes are played, but rather, about playing the right notes, which is the hallmark of a true musician.

This current tour features a first set of carefully curated Hackett originals, selected from throughout his voluminous 30 album solo catalog, from 1975 to the present. Hackett played on six Genesis albums but left the band in 1977 to pursue broader musical horizons and has never looked back. He is always creating, and is no musical prude, dabbling and absorbing all genres, from classical, to world modalities, unorthodox instruments and scales. Each of these varied interests finds an outlet for expression in his compositions, which always challenge the listener to expand what they thought was possible, and to break out of conventional modes of appreciating art.

Hackett is almost child-like in his insatiable curiosity, and he brings that to every aspect of his show, which is meticulous in its presentation and execution. Theatrical and state-of-the-art lighting mixes with the sound in a stunning display for the senses that truly present a kaleidoscopic multi-media experience.

While Steve’s solo material is captivating, of course the crowd came to hear the classics, and for that Hackett indeed delivered in spectacular fashion. It’s astonishing to consider that he was in his early 20s creating such heady music during those early Genesis years, and that now decades later, new generations of fans approach it anew with the same wonder and appreciation. We are certainly fortunate that Steve has remained so intensely dedicated to his craft, because he is the only original Genesis band member that still plays from the early catalog, treating it with the respect of a curator handling rare art.

Vocalist Nad Sylvan evokes the Peter Gabriel and Phil Collins passages with passion, grace and the appropriate emotional intensity. Bassist and 12-string guitarist Jonas Reingold provides supple accompaniment and counterpoint for Hackett, while Rob Townsend added sonic depth on woodwinds and keyboards, Lalle Larsson was an absolute wizard on keys, and Felix Lehrmann did Phil Collins proud on the drum kit. They are truly an international outfit, hailing from the UK, Germany, the US, and Sweden.

“Firth of Fifth” was a highlight; Hackett’s signature solo soared, with the audience hanging on every sustained note. The Clearwater crowd became hushed with amazement in their appreciation of such rare artistry. These classic songs didn’t feel like dusty museum pieces; they felt alive, reenergized, and performed with genuine affection. Despite what the grunge years predicted about the demise of prog-rock, Hackett is still a proud progenitor of the craft, one of the few remaining who still create original music, performing it in such a way which is consistently captivating and creative. He is truly an artist’s artist, and it’s why we saw so many local musicians taking the night off to attend his show! I often liken Steve’s shows to “White people’s church”. We ain’t got gospel, but by God we got prog! There is a real care and craft to what Hackett does, and it radiates in every aspect of an evening that is a proper theatrical spectacle.

Of course, no Hackett show would be complete without a “Dance on a Volcano”, performed with all the precision that such a dance might entail. Steve Hackett’s shows provide a celebration of some of the most imaginative popular music ever crafted, delivered by artists who play with authenticity, warmth, and ferocious skill. It was a reminder that progressive rock, at its best, is timeless. A superb, heartfelt performance that honors the past while proving Steve Hackett remains a creative force in the present. As we’re reminded by that famous “Dance on a Volcano” refrain –
“The music’s playing, the notes are right
Put your left foot first and move into the light
The edge of this hill is the edge of the world
And if you’re going to cross you better start doing it right
Better start doing it right!”