THRESHOLD
After two weeks of performing their ambitious double album, Legends Of The Shires, in full, you might be forgiven for assuming that Threshold will be slowing down tonight. But the Brits are at peak level and the shires are in full bloom for the final show of this European tour. However, the same can’t be said of their fans. Their only UK date has already been downgraded from the islington assembly Hall, and the Dome is scarcely half full. But if the British prog metallers are disappointed by the dwindling numbers, they’re not letting it show.
From the opening notes of The Shire (Part 1) to the final throes of their encore, Threshold don’t let anyone down. They’re clearly having fun on stage too, especially guitarist Karl Groom and bassist Steve anderson who are grinning from ear to ear and occasionally indulge in a spot of playful duelling. Out in the crowd, heads are nodding and feet are tapping as Glynn Morgan rouses the rabble. The new-old singer returned to the ’Hold last year, and his rock vocals – both in presentation and range – are quite different from the theatrical delivery of former frontman Damian wilson. Perhaps this explains the band’s decision to omit wilson-era material from the current set? Yet Morgan looks just as comfortable progging out on an electric guitar as he does singing, especially during the multi-faceted The Man who Saw Through Time. The huge applause this song earns almost makes up for the skimpy attendance.
The five-piece tackle the delicious crunch and grind of Trust The Process’ schizophrenic rhythm section with just as much panache, climaxing with Yes-inspired vocal harmonies and a very satisfying drum roll. State Of independence is elevated to an impressive power ballad, and Morgan admits to having “a bit of a tear” in his eye while performing it. Lost in Translation shows the band’s classic roots and proves there’s more to them than the heavy riffs they’re best known for.
after an hour and a half, they meander from the tour concept to live favourites with encores of Pressure and Slipstream, which get everyone singing along. Based on tonight’s performance alone, there’s no reason why Threshold couldn’t headline a venue four times the size with the addition of a fancy light show and a few projections. So it feels frustrating that a band who enjoy great success outside the UK, augmented by recent slots at Night Of The Prog and RosFest, aren’t as recognised in their home country. Threshold deserve to be much bigger, if only more of their local fan base could be mobilised.