JOHN HACKETT BAND

VENUE RAVENSCOURT ARTS, LONDON DATE 11/02/2023

SUPPORT JOANNE HARRIS AND THE STORYTIME BAND

When Joanne Harris takes the stage, flute in hand, wearing a Focus 50 T-shirt, she gives us an idea of what’s in store. She and drummer husband Kevin Harris first played together as teenagers in the Genesis-inspired The Garden Wall and The Storytime Band have their roots in 70s prog, but there’s a twist. Each track begins with a succinct introduction from Chocolat author Joanne. “I will tell you a story behind the song, then you’ll hear the song and you’ll know what it’s about,” she says.

Some bands’ rambling onstage stories can cause even diehard fans to glaze over, but she’s an engaging narrator as well as a writer of rare imagination, and these vivid tales – many of which were introduced to the world via Twitter – capture the imagination from the first line. She details the secret lives of bees on Nectar and explores the power of mirages on The Sand Rider, the songs further enhanced by projected visuals. The music is structurally intricate, with Joanne’s flute conversing colourfully with Paul Marshall’s keyboards. She shares vocals with Marshall and Kevin, who combine in a subtle rhythm section with bass guitarist Duncan Parsons.

It’s an entertaining, engaging set, and although their approach has flummoxed some attendees of literary festivals, it should appeal to the discerning prog fan.

Duncan Parsons is back again in set two, this time on drums for the John Hackett Band. With an introduction from promoter Darren Hirst – who points out that John’s mum June (also parent to a promising young guitarist called Steve) is in the audience – Parsons is joined by the group leader, bassist/ acoustic guitarist Jeremy Richardson and guitarist Nick Fletcher, and the volume, tempo and lightshow whomp up.

The scope of the music is progeclectic. Songs such as The Spyglass are melodic, multi-harmonied and Yes-like – with a creepy Big Brother vocal – others such as Theme And Rondo have, naturally for flautist/keyboard player Hackett, a classical influence. Burnt Down Trees has blues and jazz-rock at the centre and Hackett’s mellifluous playing on the Latin-influenced, bouncy instrumental Queenie And Elmo’s Perfect Day – and the Focus-tastic romp Red Hair – is balanced nicely against Fletcher’s rip-roaring prog-jazz guitar work (possibly the band’s secret weapon here). Take Control is another stand-out, with a motif mirroring the weeping guitar riff in brother Steve’s Shadow Of The Hierophant.

It’s an entertaining show, expertly played, but the catalogue is complex, and the songs can sag a little in pace. Parsons' cymbal-heavy drum-sound also needs some beefing up – however, with a gorgeous, sensitive rendition of I Talk To The Wind, in tribute to the late Ian McDonald, the band score highly.