by photojournalist Jeffrey Moellering
On September 28th, Ruth Eckerd Hall in Clearwater became the epicenter of the progressive rock universe, hosting a musical extravaganza as BEAT, the prog-rock supergroup featuring stunt guitarist Adrian Belew, metal virtuoso shredder Steve Vai, Chapman stick aficionado and bassist Tony Levin, and Tool drummer Danny Carey. This concert and the extensive 60-plus dates tour is a tribute to King Crimson’s ’80s era – and it was nothing short of spectacular.
When Adrian Belew joined Robert Fripp’s King Crimson in 1981, the band took on Belew’s melodic pop sensibilities, melded with Fripp’s terse labyrinthian industrial framework, improbably fusing styles into a nearly radio-friendly format, with lush imagery, vocals, and dare it be said – danceability, interspersed with mind-bending dreamscapes and creatures lurking in the subconscious sphere.
King Crimson’s three albums released between 1981-1984 have since become revered by progressive rock aficionados as perhaps the finest and most innovative trilogy in the genre’s catalog.
Crimson bandleader Robert Fripp explored various formats in the years after Belew’s departure, but with the aging fanbase and sense of nostalgia, sentiment grew for a revival of the beloved early 80s era Crimson incarnation.
Adrian enlisted fellow Zappa guitar alum Steve Vai to play the intricate Robert Fripp passages, and Danny Carey to tackle Bill Bruford’s jungle-jazz polyrhythms, then pitched the idea of a touring band to Robert Fripp, who enthusiastically approved the project, and thus, BEAT was born!
The name BEAT holds significance as the 2nd album release from Belew era King Crimson, and is a fitting moniker for the band’s spirit.
Tickets went on sale months before the tour began and anticipation built among fans concerning just what they could expect to hear. Adrian Belew was the primary songwriter during his Crimson tenure, and is heralded for his innovative guitar techniques, which use feedback, distortion, and electronics to create an array of soundscapes, train horns, and animal noises, which he’s incorporated into his compositions.
Crimson founder and guitarist Robert Fripp is also a guitar pioneer, with the development of his looping “Frippertronics” techniques and intricate playing style. Selecting Steve Vai to replace Fripp had fans wondering whether a metal guitar virtuoso could adequately assimilate Fripp’s almost baroque technique into something still recognizable as King Crimson.
Well, if their recent Clearwater performance was any indicator, the answer is a resounding “YES!”
The audience was so elated that they gave the band a standing ovation for simply taking the stage! Those in attendance were a veritable “Who’s Who” of the Tampa Bay music community. There was an unspoken understanding among those attending, how long they’d waited to experience the event, and how important it was in so many people’s lives, including this photojournalist. And indeed, everyone was transported on a unique musical adventure, presented by some of the finest musicians of our era.
I was a high school junior when King Crimson’s “Discipline” was released in 1981, and it was a singularly seminal event in my musical lifetime. I was a Frank Zappa fan from an early age and was familiar with Adrian Belew as a member of Frank Zappa’s band, and was also a progressive rock fan of bands like Yes, Genesis, and earlier King Crimson.
“Discipline” however, ushered in an entirely new musical period, stripping away the pretentiousness that many criticized prog rock for, in becoming too self-absorbed, and gaudy with technique for technique’s sake, while lacking soul. Discipline created a new kind of liberated and dynamic expressive freedom. I’d never heard anything like it, and it seemed as if the entire world was experiencing a paradigm shift that would change everything, forever. 40-plus years later, the music would sound brand new if it was released today; that’s how revolutionary it was.
I’m not certain that such a wholesale transformation of planet earth ever occurred, but it was still a very electrifying time, so the opportunity to celebrate the greatness of 80s-era Crimson was indeed an exciting thing to consider.
For those who had never heard the music, and even those who know it well, the “replacement” musicians Steve Vai and Danny Carey did a remarkable job of integrating the previous band members’ parts into an organic whole that was faithfully King Crimson. That that might not sound like a big deal, however, Robert Fripp possesses what is probably the greatest rock guitarist picking technique, and Bill Bruford is a singularly unique drummer. It’s not like saying “Wow, those guys really sound like AC/DC”.
The first set began with the frenetic frenzy of Neurotica, from their 1982 Beat album, which was a fitting start for diving right into the essence of that period. They also delved into some of the era’s more esoteric instrumental aural adventures, allowing bandmembers the opportunity to explore their artistic side, bending the listeners’ ears to challenge their understanding of what is possible with “rock instruments”.
Adrian Belew’s wailing Parker Fly, paired with Steve Vai’s masterful solos, created a sonic tapestry that was both complex and beautiful, while remaining true to the original. Tony Levin’s bass technique perfectly blended power and melody, anchoring the band’s intricate arrangements. His expressiveness and dexterity on the Chapman stick is a stunning thing to behold, and brings such an incredible dynamic range and texture to the compositions, as it covers both the bass and guitar notes. Danny Carey’s drumming was a force of nature, adding dynamic and rhythmic depth to the performance. He’s a hulking figure of a man, towering over everyone else in the band, and his drumming was equally powerful, yet respectfully recognizable in retaining Bill Bruford’s signature technique. King Crimson actually opened for Tool during a 2001 tour, and Carey has long been a fan of the the band.
After a brief break, BEAT returned for a second set with a treasure trove for King Crimson enthusiasts, featuring gems from “Discipline,” “Beat,” and “Three of a Perfect Pair.” Standout moments included a breathtaking version of “Elephant Talk,” where Belew’s vocals and guitar work were particularly striking, and “Frame by Frame,” highlighting the band’s impeccable timing and cohesion.
The synergy between the band members was evident throughout the night. They played with a sense of joy and mutual respect that was infectious, drawing the audience into their musical journey. The visuals and lighting enhanced the experience, complementing the music without overshadowing it. The encore included “Red”, a rocker from Crimson’s 70s era, which allowed the band to unleash a more straight metal kind of energy and finished with the rousing “Thela Hun Ginjeet”, the rousing crowd favorite with tribal infectious beats, which had everyone dancing, even if dancing days were perhaps behind many in attendance.
BEAT’s performance was indeed a tour de force in progressive rock, showing that the assembled quartet is indeed still a powerful presence in the modern music scene to be reckoned with. They paid homage to King Crimson’s legacy while infusing the music with their unique styles. For fans of technically brilliant and adventurous rock, this concert was an unforgettable experience. We can only hope that live recordings will become available for fans to re-live, and maybe even original material (HINT-HINT!!), to propel the next generation of progressive rock, the same way that King Crimson’s “21st Century Schizoid Man” ushered in the original “OG” prog rock era, way back in 1969. May the BEAT go on!