CONCERT REVIEW: King Crimson, Tower Theater/Philadelphia, PA.

(June 1, 1995)

- Dan Enright

It's difficult to believe a ten year gap exists between the last incarnation of King Crimson and this one. Ten years and several successful projects for all the current members. But, like today and a memory, the connection is seamless. Following on the heels of last year's independently released Vrooom, this album and tour marks the beginning of what I (and I suspect most fans) hope is the latest chapter in the Crimson saga.

About 30 minutes into this sold-out performance, I'd formed three opinions. First: When I see/hear a group as advanced and talented as this, it makes it difficult to be a critic, because they've demonstrated what's possible - and most musicians don't attain this level of proficiency.

Second: This group is representive of electronic String Ensemble/Classical Music of the late 20th Century. Robert Fripp belongs to that elite group of composers that includes Frank Zappa, Brian Eno, Peter Gabriel, Joe Jackson, and John Zorn (among others).

And third: When it comes to rock, especially the metal/progressive/hard genres, most bands offer watered down pap. I guess because the majority of consumers don't want to be challenged. Almost as if they want their music served-up predigested.

Now about the performance - if you don't have tickets forget it. I'm sure the tour is sold out, and rightly so. The '95 Crimson line-up features alumni Adrian Belew - vocalist and guitarist extraordinare, Tony Levin/Trey Gunn - stick masters (Tony also used a stand-up electric bass), Pat Mastelotto/Bill Bruford - phenomenal drummers, and of course soul and center Robert Fripp. Like several of Virgin's other top shelf acts, (Joe Jackson and Bryan Ferry for example) the tour's been booked into the handful of concert halls that dot North America, meaning the tour will be seen by about 125,000 hard-core fans. This guarantees they'll get the best possible view and sound. I know I did - and I sat at the very back of the theater.

If you have seats, don't expect to hear a set of greatest hits. While the band did perform some of their older material, the focus of the performance was their latest release, Thrack (for our discordian readers, the cover features the five fingered hand of ERIS and the band is composed of a double trio). From quiet ballads to intense aural landscapes the band gave a stellar performance, one that (at this time at least) I'm prepared to rank as the best of '95. All the Crimson trademarks are there. The shifting rhythms, odd time signitures, tight breaks, twisted bridges, and chaotic movements - evolving from and resolving into some of the hardest, most intense rock and roll I've ever seen performed. The show is evenly split into instumentals and vocal sections, with Fripp subtly directing and controling a flow of music that seemed filmscore-ish at it's most extreme. And, of course, jaw dropping technique.

The stage had three risers in the back which held the drum kits - one on each side of Fripp, who lurked in in the center. In front of the drummers stood Levin and Gun, with Belew at center stage. Everyone was spotlit except Fripp, who sat quietly in the heart of the vortex, shrouded by shadows. A presence whose influence was felt - and heard - but not seen. The lighting was simple, powerful, and effective, with reds, greens, and yellows used to add emotion and impact to the different passages.

The music was focused and intense one moment, quiet and gentle the next. but always balanced and vividly emotional. This tour is a textbook example of music's true magical power. If you aren't fortunate enough to have tickets, I'd suggest getting the new album (or any of the bands 16 albums for that matter) to get an idea of the power these guys wield.