King Crimson (live at Teatro Grande)

Pompeii
19 July 2018

Pompeii, the city frozen in time, its people caught like statues in their death throes as the volcano erupted around them. The place is as stunningly beautiful as it is tragic; it is awe-inspiring as you feel transported back in time. The place has also become synonymous with progressive rock, ever since Pink Floyd were filmed performing live here in the early ’70s. Tonight, King Crimson perform the first of two sell out shows in the same amphitheatre that the Floyd were captured on celluloid in all those years ago.

As we approach the ancient city, the volcano Vesuvius that caused its downfall broods over it, already long overdue for another eruption it sits satanically waiting to wreak havoc once more. As you pass through the entrance to the site, a new display glasshouse is full of the petrified people that once inhabited the ghost city. It’s here where it really hits me that I am going to witness something very special tonight, something that will stay in my memory for a very long time.

We make our way into the entrance that many years ago was used by gladiators, and suddenly you are in the floor of the arena staring at this spectacle of ancient Roman architecture. The stage is placed at one end of the amphitheatre; three drumkits line the front of the stage that is bathed in blue light. We take our seats and I still can’t quite believe I’m really here as I stare around me. King Crimson will have an eight-man line-up and will play for almost three hours, and for the many prog heads here, tonight is more akin to a religious experience rather than just a mere concert.

Not normally known as being the most verbose musician on stage, Robert Fripp introduces the evening and the band, and you even get a hint of excitement in his voice. Within moments of them taking the stage, the band launch into “Drums Of Antiquity” and “Larks’ Tongues in Aspic Part One” and the audience erupts, some already on their feet as the opening big riff blasts out. Fripp sits at the back, guitar in hand and perched behind his keyboard. Next to him is Jakko Jakszyk who is on guitar and vocal duties, and alongside him is keyboardist Bill Reiflin. Stalwart Crimson bassist for the last thirty-eight years Tony Levin is next and he stands next to flautist and saxophonist Mel Collins. Along the front of the stage are the three drummers, Pat Mastelotto, Gavin Harrison and Jeremy Stacey.

The set mainly focuses on the band’s seventies-era albums, and this is evident as they launch into “Peace: An End” from In the Wake of Poseidon, but it’s the majestic sweeping sounds of the Mellotron that fills the air during “Moonchild” that really gives me goose bumps. The sound of the instrument seems so perfect, bouncing around the walls of this ancient theatre, creating a beautiful mystical energy. But when the band launch into “In The Court Of The Crimson King”, it was enough to almost bring you to tears; the ‘Tron is the king of this song, its unearthliness floating up towards the half moon hanging in the sky above.

“Cirkus” is up next, and its around now that I really begin to appreciate the musicianship on display tonight, and individually each player is quite magnificent. The drummers show off their chops during a three-way drum solo that is tuneful and entertaining at the same time, and they receive a standing ovation from the crowd. Powerful versions of “Discipline” and “Indiscipline”, where the vocals are sung rather than spoken, close the first set. There is a twenty minute break, so you take in what you have just seen and heard, and let the atmosphere of the surroundings seep into your mind.

Clattering drums herald in the second set as the band launch into “Neurotica” with all the fire and brimstone they can muster. Then the band majestically make their way into “Epitaph”, its tragic beauty summing up the feel of Pompeii perfectly. The vicious guitar riff to “Larks’ Tongues In Aspic Part Two” brings everyone back down to earth with a bump as the band freeform through this complex piece.

The lush melody of “Islands” makes your mind wander to imagining how the city would have been two thousand years ago as its gentle piano notes fall over the audience. “Radical Action” blasts us back into heavy riff mode, with Fripp’s signature guitar sound exploding all over track. The song of the set is “Starless” as its haunting lead guitar motif and swirling Mellotrons make it sound sublime. As the track reaches its final stages, the lighting in the auditorium slowly turns to a shade of red, which somehow has the effect of adding extra emotion to the song. The band then slowly leave the stage to rapturous applause.

Of course there is one more number left to play to finish the evening off on a high, and that was “21st Century Schizoid Man”, its powerful riff blasting out as the entire audience chant the lyrics to the song. This felt like a joyous celebration, an exaltation to the gods of old who once ruled supreme over this place; and as the song picks up pace, so do the spontaneous cheers from the crowd. At the end of the song, Tony Levin picks up his camera and takes photos of the audience. Even Fripp does the same with a broad smile across his face, and it’s almost like the band themselves couldn’t quite believe that they have played in this magical setting.

As I make my way out of the auditorium, I try to let the vibe of the evening sink in so that I will remember this special night. The band was quite astounding and they had the best backdrop for a band ever in the wonderful ruins of Pompeii. The evening was an emotional one, and for me one of the best concerts I have witnessed in thirty-eight years of seeing live bands.

Behind me, the shadow of Vesuvius stands black against the night sky, the music of the evening echoing around it, calling to the god Vulcan to stay quiet for a little longer as the bright summer stars call him back to his sleep.

-Gary Parsons-

(Note: the pictures provided are from Amsterdam earlier in 2018).