With thanks to Ela Williamson for her assistance with this review

Few bands in the prog world have built such a consistent reputation as IQ. For over forty years they have balanced between tradition and renewal, taking their audience on musical journeys that resonate both intellectually and emotionally. At Prog Dreams, the band once again proved themselves a reliable force within the scene.

As the closing act of the indoor Prog Dreams Festival, IQ returned to the familiar stage of De Boerderij in Zoetermeer. The British outfit has performed here more than twenty times, and once again they brought their trademark blend of melancholy, theatrical prog and atmospheric soundscapes. The ground floor was pleasantly full – although the organizers had clearly hoped for a larger turnout – and the atmosphere was welcoming from the start.

The current line-up features Peter Nicholls (vocals), Mike Holmes (guitar, backing vocals), Neil Durant (keyboards), Tim Esau (bass, backing vocals) and Paul Cook (drums). This experienced formation has firmly established the IQ sound over the past decade. Back in 2009, when the album Frequency was released, the line-up was different, with Andy Edwards (drums), John Jowitt (bass) and Mark Westworth (keyboards).
Interestingly, Jowitt was also present earlier in the evening as part of Freedom to Glide, underlining the interwoven character of the prog scene.

The performance was more than just music: IQ presented a carefully crafted visual show. Three large screens projected images and videos that reflected the songs’ themes – abstract patterns, landscapes and historical footage that added weight to the atmosphere. Frontman Peter Nicholls gave a theatrical twist to the proceedings: first appearing in a brocade coat, later donning a cape-like vest, dark glasses and a white glove. The reference to Peter Gabriel’s Genesis-era antics was clear – a touch of theatre that supported the music, though for long-time IQ fans it no longer held the element of surprise.

The band chose to play their 2009 album Frequency in its entirety. The title track opened with delicate keyboard lines and restrained guitar, Nicholls’ vocals weaving a melancholic atmosphere. Life Support carried this further, alternating calm passages with bursts of energy.

Stronger Than Friction highlighted the band’s complex rhythmic interplay without losing melodic focus. One Fatal Mistake offered a moment of introspection, centred around Durant’s piano. The darker Ryker Skies was particularly effective live, before the long and expansive The Province stood out as a highlight, showcasing both subtle layering and powerful climaxes. Closing piece Closer wound the suite down in near silence – a subdued but fitting conclusion.

Following Frequency, IQ presented a selection of songs from their wider catalogue. Far From Here (Dominion, 2025) provided a concise, more accessible interlude, while Neverland (Dominion, 2025) unfolded as a sweeping centrepiece of melancholy and grandeur.

Two contrasting pieces were drawn from The Road of Bones (2014): the ominous title track, with its slow, tense build-up, and the raw energy of Ten Million Demons. From the classic The Wake (1985), the band played both the title track and Headlong – the latter building dramatically towards its emotional climax.

Finally, Leap of Faith (Ever, 1993) brought a lyrical and introspective touch, Nicholls’ voice supported by Durant’s warm keyboard textures.

The band clearly enjoyed themselves and received warm applause after each song. The Province in particular stood out as an audience favourite. Still, a few caveats emerged: from the front of the hall the sound balance was not ideal. Holmes’ guitar and Durant’s keyboards were sometimes buried in the mix, which cost the music some of its richness. Esau also seemed troubled by technical issues with his bass pedals, while Cook remained tucked away behind his sizeable drum kit, leaving the stage visually unbalanced.

Musically, the flow of the concert did not always remain taut: some longer passages felt stretched, and at times the pacing sagged slightly. Compared with Sylvan, who had played earlier in the day with a fresher, more immediate impact, IQ leaned more towards the familiar than the innovative.

IQ’s set at Prog Dreams delivered exactly what long-time fans might have expected: a complete performance of Frequency and a carefully chosen selection of songs from across their catalogue. The visual show and Nicholls’ theatrical presence added colour, though without much surprise for those familiar with the band. The performance may not have broken new ground, but it once again confirmed IQ’s standing as a steady and enduring force in progressive rock – and as near-residents of De Boerderij, their Dutch stronghold.