A few feet above Stephen Wilson’s head, the vastness of the universe expands and contracts. Yet, his focus rests on the bank of equipment as he seeks to create sounds that resonate with the interstellar visuals displayed on the large screen above him. He performs this task with remarkable consistency.
In profile, Wilson appears almost enveloped in darkness, surrounded by his keyboard setup, giving the impression that he landed on Earth from a distant pod. The two extensive pieces he plays—one lasting 23 minutes, the other 18—explore the small, often overlooked elements of our universe. The audience, fully engaged, welcomes his return to progressive rock after a series of projects that blended art rock with vibrant electronica.
The first piece reflects ordinary moments from English life, combining pristine melodies with deep, resonating sounds as Wilson exchanges leads with guitarist Randy Maxteen. The title track encapsulates a journey through dynamic synthetic rhythms alongside nods to Pink Floyd’s grandiosity as the visuals intensify. “Better than drugs,” Wilson exclaims, prompting a standing ovation.
The rest of the evening unfolds like a rock concert, but Wilson cleverly weaves various musical themes to create a cohesive experience. He paints a picture of countless cities and countless stars, with the harmonic structure serving as a supportive framework. King Ghost’s playful falsetto echoes the early moments of the show. In the encore, Paria gracefully transitions into a moment of blissful closure.
One challenge, though, is that there seems to be a lack of energetic exchange between the band and the audience. Wilson does address this disconnect at times, but even the energetic moments, like the high notes in Harmony Colin’s “Squall” or the driving riffs of “Vermilion Core,” feel somewhat muted. Yet, given the ambiance of the evening, this hardly registers as a significant drawback.
