Concert Review: Steve Hackett (Aylesbury Waterside Theatre - Sunday 11th October 2026)
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Written: 12th October 2026
It seems incredible that Aylesbury Waterside Theatre has already been open for fifteen years, almost to the day. A venue I have visited several times over those years, its excellent sightlines and consistently impressive sound have helped make it one of Buckinghamshire's premier live music destinations. Having hosted countless legendary performers since opening its doors, tonight it welcomes the return of one of the most revered.
The format of an evening divided into two distinct sets, one highlighting his solo work and one his time with Genesis, has been well established over several tours. Tonight does not have a specific Genesis theme as recent tours have and as the audience including – sitting immediately in front of me – Steve Rothery and Ian Mosley of Marillion (and at one time a member of Steve Hackett’s band) and Jakko Jakszyk of King Crimson - settles into their seats, there is an anticipatory sense moving through the air.
David Stopps of Friars Aylesbury welcomes the crowd by mentioning Steve Hackett appeared at the original Aylesbury Friars several times with Genesis – who were once paid £10 for two forty-five minute sets – and now makes his seventh solo appearance.
As dry ice fills the stage, the band take their places and the introduction to The Devil’s Cathedral from 2021’s Surrender of Silence rings out. Rob Townsend’s soprano saxophone and new keyboardist Lalle Larsson’s organ sounds intertwine in the song’s fiery opening before Hackett’s melodic guitar cuts through. Nad Sylvan occupies a raised position between keyboards and Felix Lehrmann’s drums and delivers the first lines of the darkly gothic narrative during which a theatrical understudy kills the lead actor and marries his wife . I am the stand-in for Mr K / A blade of grass was in my way / I studied his moves, followed his form / Easy as breathing, it became the norm. An immensely effective opening to the concert, it finds Larsson and Townsend going head to head with mind-boggling octatonics and diminished runs. Of worthy note is the lighting throughout the evening which is spectacular and meticulously constructed. During The Devil’s Cathedral, verdant banks of green light help capture the track’s gothic aura and faster guitar sections are accompanied by rapid inserts of red which add to murderous intent.
After introducing the band, Every Day – one of Hackett’s most popular tracks – features rich three-part harmonies and some simply exquisite guitar work. Containing one of his most enduring guitar solos it receives a rapturous reception from the sold-out auditorium. With each song the lighting continues to emphasise the changes in mood, with three yellow beams surrounding Steve during the faster parts of the solo.
Before the next track, he thanks David Stopps for all his support over the years which began with the boy band that he once joined! At the age of seventy six, he would be forgiven for contemplating retirement. However, during the past twenty years, Hackett’s level of studio output has been formidable, both in terms of quality and quantity and he shows absolutely no signs of slowing down. Dedicating it to his wife Jo, he introduces a new song, The Sea Inside, which he says will form part of an upcoming solo album due in February, albeit with a smile and the disclaimer that his publicists may not appreciate such an announcement. Moving through different musical passages, it is, at times tender and at others, richly melodic. With a soaring solo and Jonas Reingold’s thumping bass - which rumbles the floor - it possesses a dramatic yet celebratory feel. Hearing new material before release is always a treat and The Sea Inside is certainly a tantalising appetiser for next year.
Steve tells us that he loves writing and playing new material because he “does not want to become a mummified museum exhibit.” With the level of music he is still producing, it is something that is pleasing to hear. However, he also acknowledges the importance of the past and thus unleashes the powerful Ace of Wands. The band have been working their way around the UK for over a week now and they are incredibly tight. Complex progressive rhythms and lighter almost pastoral moments are delivered with apparent ease such is the quality of the band that Hackett has assembled. If further proof were needed, the haunting grandeur of The Steppes soon follows, its evocative melodies creating an atmosphere that is as absorbing as it is majestic. The piece sparkles with an almost ancient quality, its Eastern-tinged motifs and processional aura unfolding against a vast and mysterious musical landscape.
Taken from Highly Strung (which featured Ian Mosley on drums), Camino Royale provides a change of mood, its elegant melodies and flowing arrangement demonstrating yet again the exceptional level of musicianship on display throughout the evening. Hackett's voice remains impressively strong and expressive and the refrain, Only the fool learns to get through, underlines both the song's resilience and optimism.
As the familiar white beams of light, instantly recalling the cover of Seconds Out, flood the stage, the audience remain utterly transfixed.
During the quieter passages a pin drop could genuinely be heard, such is the respect shown throughout the evening. Soon afterwards, myriad colours illuminate both the stage and theatre walls in a display that is inventive, stylish and perfectly matched to the music. Attention then turns to the closing section of Shadow of the Hierophant. Even without the additional vocals that have featured on some dates of the tour when Amanda Lehmann has been present, the piece loses none of its impact. Built upon layer after layer of gradually accumulating sound, it feels less like a conventional song and more like a ritual slowly unfolding, gathering momentum before finally reaching its vast, emotionally charged climax which makes the entire theatre vibrate due to its intensity.
By the time the closing notes fade away, it feels impossible that more than an hour has already passed. Such has been the quality of both the performances and the material that the first set seems to disappear in the blink of an eye. As the band leave the stage, they are rewarded with a tremendous ovation from an appreciative audience who have witnessed a masterclass in how to balance cherished favourites with a continuing creative vitality. The Genesis material that follows after the interval is, inevitably, magnificent but the first set serves as a timely reminder of just how rich and rewarding Hackett's solo catalogue remains. Indeed, if there is the tiniest of frustrations, it is that there are only so many spaces available in the setlist. While several of tonight's selections have become deservedly established fixtures, the strength of Hackett's wider solo catalogue is such that one could happily hear a greater degree of rotation from tour to tour. Indeed, it is difficult not to feel that his solo work could comfortably occupy an even larger share of the evening without anyone leaving disappointed. The Genesis classics may draw many through the door but tonight's opening hour is a powerful reminder that Hackett's own body of work warrants celebration.
Following a short twenty minute break, the second serving of music begins with a commanding rendition of Dancing With The Moonlit Knight, which on recent dates has replaced Watcher of the Skies in the setlist. Few openings in the Genesis catalogue can match its combination of beauty and drama and it remains one of the defining moments of the band's early years. Jonas Reingold's double-necked twelve-string and bass guitar is put to immediate use, helping to recreate the shifting textures of the original arrangement, while Rob Townsend's whistle passages add an additional layer of colour and character. As the song gathers momentum, the familiar white lights return for the There's a fat old lady outside the saloon section. Nad Sylvan is superb throughout. His role in these performances should never be underestimated and once again he demonstrates why he has become such an integral part of Hackett's touring band, handling the demanding material with both confidence.
If Dancing With The Moonlit Knight is a magnificent opening, The Cinema Show somehow raises the bar even further. It remains my favourite Genesis song and hearing it performed live is an experience that never loses its magic. Every moment feels perfectly judged, from the pastoral opening passages through to the celebrated instrumental conclusion. The lighting design once again proves inspired, with four glitterballs illuminated from different angles, casting huge snowflake-like patterns across the theatre walls in a simple but genuinely beautiful effect. Townsend's flute playing is beautifully nuanced, full of grace and subtlety, while the instrumental interplay between the band members is mesmerising. Then comes what is surely one of the defining moments in progressive rock: the keyboard solo. Decades after it was written, it still sounds astonishingly fresh and remains a strong contender for the finest keyboard passage prog has ever produced, though the elegant piano introduction to Firth of Fifth, waiting just around the corner, ensures it does not have the plaudits entirely to itself. As always, the slightly shortened Aisle of Plenty provides the perfect resolution and brings the suite to a close.
With the rest of the band leaving the stage, Lalle Larsson is left alone at his keyboards. Having settled into the group remarkably quickly, he delivers a highly expressive solo which gradually starts to reveal fragments of Firth of Fifth. By the time the familiar introduction emerges, anticipation around the theatre is palpable. It also means that half of Selling England by the Pound has already been performed. Meanwhile, Sylvan once again executes what has become one of the night's recurring rituals. Whenever he leaves the stage, he returns with an almost stately walk and an impeccable sense of timing . For a brief moment there is always the thought that he might not quite make it back in time. Yet somehow he always does, occasionally arriving only a beat or two before his next vocal entry is required. It is a small detail, perhaps, but one that has become an oddly endearing part of watching these performances over the years.
Beautifully performed from start to finish, the band capture both the intimacy and scale of a composition that remains one of progressive rock's crowning achievements. Stretching beyond twenty-three minutes, it is an audacious work, yet its brilliance lies in how naturally its contrasting sections flow together. The pastoral charm of Lover's Leap, the eccentric detour of Willow Farm and the mounting drama of Apocalypse in 9/8 each serve a distinct purpose, combining to create a journey that feels cohesive and compelling rather than merely complex. Throughout, Sylvan navigates the ever-changing moods with confidence, while Hackett's guitar work provides many of the evening's most stirring moments. When the climactic solo finally arrives, he unleashes it with tremendous authority, bringing the main set to a thrilling close.
The applause is immediate and sustained, and the band soon return for an encore. Dance on a Volcano feels particularly forceful tonight, driven by an intensity and grit that accentuate the song's restless energy. It provides the perfect launchpad for the traditional finale of Los Endos, during which drummer Felix Lehrmann is afforded a solo and the opportunity to demonstrate once again why he has become such an important part of Hackett's live band. As the final notes ring out around the theatre, there is a sense that the audience have witnessed an evening showcasing a formidable group of musicians performing timeless material with both passion and precision.
Aylesbury Waterside Theatre has proven, once again, to be an ideal setting for an evening such as this, with crystal-clear sound allowing every nuance of the performance to shine through. If I were to indulge one personal wish, it would have been for a visit to Wind & Wuthering, my favourite Genesis album, particularly as it celebrates its fiftieth anniversary this year. With the album having been released in December 1976, perhaps there is still hope for next year's tour. Equally enticing is the prospect of hearing more material from the forthcoming solo album given the quality of The Sea Inside. For now, however, these thoughts can wait. At seventy-six years of age, Hackett continues to perform and create with an energy, enthusiasm and musical curiosity that many artists half his age would envy. Still creating. Still exploring. Still inspiring. Long may it continue.
With thanks to Sharon from The Publicity Connection for arranging my admission to such a memorable evening.
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