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Live Reviews

Steven Wilson at Club Soda

Steven Wilson at Club Soda
By Published: May 4, 2013
Steven Wilson
Club Soda
Montreal, Canada
April 25, 2013

When currently ex-Porcupine Tree founder/front man last played Montreal in November, 2011—touring in support of his second solo recording, Grace for Drowning (Kscope, 2011)—it was clear by the end of the performance that the next time he came to the Canadian city, the crowd which filled the 800-capacity Corona Theatre was certain to grow. Not exponentially, as Wilson's solo career has unveiled in a methodical fashion that is, for anyone who knows him, absolutely consistent with his personality. Wilson is undeniably a risk taker, but he's a careful one.

It may have been a risk to walk away from Porcupine Tree (at least, for the time being) to launch a solo career where, in his 2012 All About Jazz interview, he recounted how he'd been told by ex-Genesis guitarist Steve Hackett to ..."expect your audience to fall by 80 percent." At the time of the interview Wilson had already managed to buck the odds, managing to retain about 50 percent of his Porcupine Tree fans. Less than a year later, with the release of The Raven That Refused to Sing (And Other Stories) (Kscope, 2013) still fresh—and selling extremely well—that number is now more like 80 percent, and for a variety of reasons. No mean feat, considering he's in a more progressive arena than Porcupine Tree, writing material that blends deeper complexity with unmistakable lyrical appeal.

Wilson now has a band that, with the addition of guitarist Guthrie Govan to the pre-existing lineup of woodwind/reed multi-instrumentalist Theo Travis
Theo Travis
Theo Travis

sax, tenor
, keyboardist Adam Holzman, bassist/stick player/background vocalist Nick Beggs and drummer Marco Minnemann, is one of the best—if not the best—progressive rock groups on the road today, bringing a strong jazz sensibility to what is still undeniably a progressive rock show. And while he's still, for the most part, touring smaller venues than he did with Porcupine Tree, his audience is gradually building, and it's likely that, just as the Grace for Drowning tour grew his fan base, this year's extensive world tour will do the same...and, perhaps, even more.

For his return to Montreal, Wilson moved to the 940-capacity (standing) Club Soda, which was home to Jaga Jazzist
Jaga Jazzist
Jaga Jazzist

band/orchestra
's tremendous 2011 Montreal Jazz Festival performance, where the crowd's over-the-top response surprised a Norwegian jazz/prog group well-used to overzealous reactions. Montreal has long held a reputation for its particularly ardent audiences, and the sold-out Club Soda crowd didn't disappoint, responding to Wilson's show with so much enthusiasm—and so completely unwilling to let the group get away with just one encore—that Wilson decided to do something he's only done one other time on this tour: return for a second one.

The first encore was also something of a surprise, a version of Porcupine Tree's early, Pink Floyd-informed "Radioactive Toy," from 1991's On the Sunday of Life... (Delerium). Wilson explained that since the first three recordings were really solo recordings (not forming a touring band until he needed one a few years later), he figured it was fair game to include a song from that repertoire. True enough, but a second encore medley of Grace for Drowning's "Remainder the Black Dog" and Insurgentes' "No Twilight Within The Courts Of The Sun"—its unusual segue between tunes explained away by Wilson backstage after the show as, "there's no easy way to get from 15 to 21," referring to the two songs' irregular meters—only demonstrated, in very clear terms, just how far Wilson has come as a writer since those early days, from 1988-1991, when he conceived, wrote and recorded that important first album.

Montreal's outrageously enthusiastic response to Wilson's show was not without extreme good reason; if his 2011 show was superb, his April 25, 2013 Club Soda performance was even better, an intense, dramatic show filled with epic writing, memorable melodies and stellar playing. The group has clearly come a long way in 17 months in terms of chemistry, comfort and trust, but it's the addition of Govan that has finally completed Wilson's band; a guitarist as compelling, capable, imaginative and dynamic as the rest of his band mates, it's the final piece of a puzzle Wilson has been creating since he first toured Grace for Drowning two years ago.


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