Written: 8th January 2025
Trading Boundaries has become something of a second home for Steve Hackett over a number of years, often playing acoustic concerts during the Winter months of December and January. As Steve explains, “It’s always a joy for me to play at Trading Boundaries, a magical intimate place full of beautiful lights and exotic imagery, illuminating the darkest time of year over Christmas and New Year. It’s the perfect location for my acoustic set.” Live Magic At Trading Boundaries collects nineteen tracks (two of which are from Amanda Lehmann’s most recent solo album) performed over a number of years from various recordings. The stripped down nature of the material is the perfect vehicle for his classical compositions. Joining Steve at different points on the album are his brother John on flute, Roger King on keyboards, Rob Townsend on flute & sax, and Amanda Lehmann on guitar & vocals.
Opening the album, Improv is a delightful piece that immediately showcases just how adept Steve Hackett is with a classical acoustic guitar. Combining effortless gliding up and down the fretboard with intricate finger picking, it helps conjure a special atmosphere that sets the tone for the rest of the album.
Following this, the rest of Live Magic At Trading Boundaries splits its time between his time in Genesis, his solo material and one piece from the Sketches for Satie album which Steve released with his brother.
What makes the album special is the opportunity to hear alternative versions of well known tracks which take on different characteristics and moods within this setting. Blood On The Rooftops remains one of the best songs Genesis ever recorded and here we are treated to the gorgeously intoxicating opening section. Other tracks that cover his time in Genesis are Horizons (which could easily have been written with such performances in mind); an excerpt from Supper’s Ready (the resplendent link between Willow Farm and Apocalypse in 9/8); After The Ordeal (a special performance which brings the melodic synergy that flows through the band to the fore) and Hairless Heart (which has long been one of my favourite sections of The Lamb Lies Down On Broadway is utterly glorious in this arrangement). Each of these tracks confirm, as if any confirmation were needed, just what an important member of Genesis Hackett was during his time with the band.
Three tracks here are taken from Steve’s Bay Of King album: Barren Lands, Black Light and The Journey. Unsurprisingly, these all work wonderfully in the acoustic format, taken as they are from his first album consisting of entirely instrumental classical guitar music. All beautifully played, the true gem of the trio is a sublime rendition of The Journey that ends the album, the unfussy arrangement allowing each and every note to shine.
Elsewhere, variety on the album comes from Jacuzzi (from Defector), one of the more upbeat moments on the album; it flows from the speakers with an effervescent charm, as does Jazz On A Summer’s Night - seemingly more inspired by folk than jazz. Gnossiene No. 1 features John’s enchanting, mystical flute as its centrepiece and an excerpt from the Poulenc Organ Concerto brings what feels like elements of experimentation and less structured moments to the album.
On Memory Lane and Only Happy When It Rains, Amanda Lehmann takes centre stage performing two tracks from her most recent solo album Innocence and Illusion. Steve comments, “Amanda’s lovely vocals on her own spellbinding songs also provide a special contrast.” Musically, both are perfectly suited to the occasion; Only Happy When It Rains is sultry and beguiling, while Memory Lane is full of heartfelt emotions inspired by her “mother's journey into and through dementia” and Amanda “wanting to reach out to anyone who has been affected by this horrible disease.”
Steve’s solo career is further represented through stunningly entrancing performances of Walking Away From Rainbows (from Guitar Noir, an album I go back to time and time again), and fan favourites The Red Flower of Tai Chi Blooms Everywhere, Hands of the Priestess and Ace of Wands.
In unique fashion, Live Magic At Trading Boundaries embodies and exemplifies some of Steve Hackett’s best work in his various guises. Hackett himself is clearly pleased with the outcome stating, “I love the delicate dreamlike quality of this show with John and Rob interplaying beautifully on flute and sax, interspersed by surprising moments of power, such as the point when Roger’s keys become the sound of a full blown pipe organ!” Some tracks are excerpts from longer tracks – the opening section of Blood On The Rooftops for example is seventy-five seconds long and ends before the vocal part of the song would normally begin. However, this album is designed to focus on the classical and acoustic elements of his playing and in this, it succeeds magnificently. There are times when tracks suddenly end and others begin but such is the quality of the music on display that this is a minor worry within the scheme of the entire album. With him having released a number of (welcome) live albums from his electric shows recently, any fan of Steve Hackett will revel in the opportunity to immerse themselves in this side of his music. Transcendent, radiant and spellbinding.
Live Magic At Trading Boundaries will be released on 17th January 2024.
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