Freedom to Glide @ ProgDreams – Poppodium Boerderij (Zoetermeer, 23.08.2025)

After the exuberant show by Cheeto’s Magazine on day two of the Progdreams Festival at De Boerderij in Zoetermeer, the mood shifted drastically as Freedom To Glide took the stage. Where Cheeto’s served prog as a colourful rollercoaster ride, Nixon and Riley offered subtlety, atmosphere and introspection. Such contrasts are part of what makes a festival so interesting, though it also means not every band resonates equally with every listener. For some, the music may have felt too serene, too “classic-prog” in character, but those who opened themselves up to Freedom To Glide’s world were rewarded with a deeply moving experience.

Formed in 2010 by Andy Nixon (vocals, guitars) and Pete Riley (keyboards, visuals), the band grew out of a Pink Floyd tribute project. Their shared ambition to tell stories through music led to an ambitious trilogy of concept albums: Rain (2013), Fall (2016), and Seed (2019), later followed by The Chronicle of Stolen Souls (2022). The central themes — war, loss and hope — were treated with great respect and emotional depth, earning the band glowing reviews.

Interestingly, Freedom To Glide only made the step to the stage much later. Their live debut came in 2024 at Prog For Peart in Abingdon (UK), with the duo joined by John Jowitt (bass), Rob Groucutt (keys/guitars), and Stu Emms (drums). This expanded line-up successfully brought the studio intensity of their music to life on stage.

The set in Zoetermeer was a carefully curated cross-section of their work. “Rain, Part 1” set the tone, followed by “Holding On”, “Names in the Stone”, “Toll” and “Trough of War” from Fall, the powerful “Stolen Souls”, and the hopeful “When That Day Comes”. The closing sequence — “The Right Within the Wrong”, “Path of Reason” and “Undertones of War” — reinforced their ability to weave narrative and atmosphere into music that lingers long after the last note.

What made this line-up particularly compelling was its musical depth. John Jowitt, well known from IQ and Arena, gave the performance extra weight with his melodic and expressive bass work. Together with Groucutt and Emms, he provided a solid rhythmic and textural foundation, allowing Nixon and Riley to expand their melancholic, immersive sound.

The audience reacted with enthusiasm and the band clearly relished the warm reception. For long-time fans, this was a deeply rewarding concert; for curious festival goers, perhaps an intriguing discovery that will continue to resonate — the start of something special.