Twenty years after leaving Spock's Beard following a profound religious conversion, Neal Morse remains one of progressive rock's most prolific figures. Between his solo work, Transatlantic, Flying Colors and the Neal Morse Band, he has maintained a staggering creative output. The latter outfit is currently touring behind its latest concept album, Innocence and Danger, much of which formed the backbone of last night's performance at the Trianon.
Given the pedigree of the musicians involved, the quality of the playing was never in doubt. Mike Portnoy is one of the most dynamic drummers in progressive rock, while bassist Randy George provides the perfect counterpart, locking into every twist and turn with authority and precision. Guitarist Eric Gillette handles the demanding lead work with ease, moving seamlessly between lyrical melodies and more technically demanding passages.
Yet for all the individual talent on display, the evening never devolves into a mere exhibition of virtuosity. The focus remains firmly on the songs.
Large sections of Innocence & Danger are performed throughout the evening, alongside substantial excerpts from The Similitude of a Dream and The Great Adventure. The audience knows exactly what it came for. There are no detours into Spock's Beard material and no excursions into Morse's other projects. This is very much a Neal Morse Band show.
As a frontman, Morse remains an engaging presence. Dressed in a gleaming gold shirt and armed with a headset microphone, he occasionally resembles a television evangelist or a cruise-ship entertainer, an image that sits in amusing contrast with the complexity of the music. Yet his enthusiasm is infectious and his vocals retain all the emotional conviction that has become his trademark.
One of the band's greatest strengths is the fact that every member is an accomplished singer. The multi-part vocal arrangements are among the evening's highlights, particularly during "Waterfall," where the group's harmonies elevate an already strong composition into something genuinely moving.
The second half of the concert embraces the grand ambitions that progressive rock fans cherish. Extended pieces such as "City of Destruction," "Welcome to the World" and "Long Day" unfold over multiple movements, combining intricate instrumental passages, memorable melodies and dramatic shifts in mood. Far from intimidating the audience, these sprawling compositions inspire some of the evening's strongest reactions, with fans singing along and cheering every solo as if they were hearing classic rock staples.
Progressive rock is often accused of being cold, cerebral or inaccessible. The Neal Morse Band provides a persuasive counterargument. The arrangements may be complex, but the melodies are immediate, the emotions sincere and the sense of uplift unmistakable. Combined with an elegant light show and performances of the highest calibre, it makes for a compelling reminder of why this music continues to inspire such devotion.
For nearly three hours, the Trianon becomes a gathering place for believers. Not necessarily in Neal Morse's faith, but certainly in the enduring power of progressive rock.
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