In a year where I doubled-down on my love for Genesis, it was refreshing to see two of the band’s former members (I guess they’re all former members now) put out incredibly strong solo work. I’m still trying to wend my way through Peter Gabriel’s I/O with its dozen different mixes, but there was so such hesitation with The Circus And The Nighwhale, the latest studio effort and first concept album from Steve Hackett. Immediately ear-catching and stuffed to the gills with incredible guitar playing, Hackett sounds like he took all those years keeping the prog-version of Genesis alive and distilled it all into an album that could have sat side by side with their best work while maintaining a modern, rock edge.

Alternating between longer, progressive rock songs and shorter, more classically-inspired interludes The Circus And The Nightwhale is a beautiful blend of Hackett’s entire career. I adore the series of live albums he’s been putting out celebrating Genesis and his solo work, often focusing on a particular album, and he brings a lot of those players in with him here. His primary partner in crime is Roger King, who co-produces as well as plays keyboards and handles the orchestral arrangements but there are guests galore. Lord knows I can’t get enough Jonas Reingold in my life, whether it’s with the Flower Kings, the Tangent, or his own Karmakanic (new albums coming in March!), and he’s joined by Hackett’s primary vocalist Nad Sylvan, his brother John Hackett on flute (who also guested on the Ellesmere album – more connections…) and Nick D’Virgilio of Big Big Big Train and Spock’s Beard adds his chops to the killer opening track “People of the Smoke”.

Which is a good segue to actually get into the music. Conceptually this is the story of Hackett’s life, moving from the gritty reality of his birth and childhood in postwar London and shifting into an ethereal dreamworld as the creative world consumes his life. But it starts with People Of The Smoke” and the sound of sirens, radio, and a crying baby before the strings kick in and Hackett’s guitar rings out. It’s a great showcase for his playing; almost immediately you hear flickering licks and a wicked little break at the bridge. But his classical influences are never far behind, whether its the choral sections of the song or the orchestral push that quickly envelops it. Also copious whammy bar! From a 74 year old! “These Passing Clouds” continues the gorgeous electric soloing before hammering down a rocking riff ¹ on “Taking You Down” – the whole front side of The Circus And The Nightwhale makes sure you know this is a rock album. Vocally I get a strong Gabriel vibe, both in the melody and the instrumentation behind it. Taken as a trio these three tracks show Hackett’s vitality hasn’t diminished a whit.

His classical guitar dominates “Found And Lost” before moving into lonely torch, and I was shocked to hear the direct Goblin reference that opens “Enter The Ring” that then morphs into a Yes homage in the harmonized vocals before moving full-bore into Tull mode thanks to John Hackett’s flute solo and Steve’s Martin Barre tone-infused solo work. If we’re taking these songs as analogs to Hackett’s own life, I guess “Get Me Out!” brings us to his Genesis years in a not so subtle but humorous way.

The second side opens with love the choir again, introducing “Ghost Moon And Living Love”, the longest track on the album at close to seven minutes. As I continue through The Circus And The Nightwhale I keep finding myself drawn to this push/pull between the rock and the more classical elements. “Circo Inferno” nicely captures the turmoil and fear of exploring new ground and being terrified of losing what you’ve created, and once again the solos are just exquisite. Also great saxophone work from Rob Townsend. “Breakout” opens like it could be a Dream Theater track, and a good one at that. It blends seamlessly into “All At Sea” before heading into the true dark with “Into The Nightwhale”. If the first side played into the rock elements, this second side almost veers into metal territory.

As The Circus And The Nightwhale closes with the anthemic “Wherever You Are” and the gentle shush of classical guitar on “White Dove” it feels like you’ve traveled this ready with Hackett. I think a large part of that is the format: this is one instance where the vinyl and packaging feel vital to the music. The artwork by Denise Marsh is evocative, and Hackett lays out the entire story song by song in a lovely 8-page booklet, accompanied by photographs taken by his wife and co-writer Jo as well as Amanda Lehmann who provides backing vocals throughout. Sitting down with this, booklet and art in hand, and following along to the story was a lovely experience.

Stunning album. Hackett continues to play at the top of his level, outshining guitarists half his age. That would be enough, but The Circus And The Nightwhale shows he has the songwriting to go with it. An essential record I hope people don’t forget about.

¹ I couldn’t for the life of me remember what the riff on “Talking You Down” reminded me of. It’s a variation on Zappa’s “Willie The Pimp” – phew! Also I promise to cut down on the footnotes – my David Foster Wallace worship is rearing its head again.