Neal Morse & the Resonance + The Flower Kings @ 013 Tilburg (NL)

Neal Morse & the Resonance + The Flower Kings

Across Europe 2025 – Tilburg 013
Two worlds, one universe of prog

Jaak Geebelen - with thanks to Ela Williamson for her help with the review.

When Neal Morse and The Flower Kings share the stage, it feels as if two planets in the same musical cosmos pass each other at close range. Both belong to the absolute top of modern progressive rock and appeal to an audience that loves long compositions, symphonic grandeur, virtuoso performances and spiritual or philosophical themes.

Although their styles differ in places—one often more compact and narrative-driven (Morse), the other looser, more painterly  and dreamier (Stolt)—they share a deep-rooted love for the classic prog sound of the 1970s: Yes, Genesis, Gentle Giant  and King Crimson are clear sources of inspiration for both.

Their musical common ground finds a nearly literal symbiosis in the supergroup Transatlantic, in which Neal Morse and Flower Kings guitarist Roine Stolt have collaborated since 2000, alongside Mike Portnoy and Pete Trewavas. That band serves as a bridge between their individual styles: Morse’s narrative approach, Stolt’s colorful vision, Portnoy’s rhythmic power and Trewavas’s melodic depth.

Thematically, the two artists also intersect: both seek meaning, connection and beauty in their work. Morse does so more explicitly, often with spiritual and religious themes; Stolt’s lyrics are more metaphorical, but equally rich in life’s questions and hope. Both speak to the spirit and the heart.

It’s no wonder their fanbases overlap significantly. Those moved by Morse’s intensity often find wonder in The Flower Kings’ musical paintings. And fans of Stolt’s dreamlike approach are just as likely to be swept away by Morse’s emotional force.

A double concert by these two giants isn’t a clash of worlds but a meeting of kindred spirits—each with their own voice, yet in harmony within the same musical universe. Whether you came for blazing solos, symphonic depth or simply to escape reality for a while: this double bill delivered it all.

The main hall of 013 in Tilburg, on the fifth stop of the Across Europe 2025 tour, was not sold out—likely due in large part to a nationwide train strike. But those who did make the journey were treated to an evening full of musical highlights.

The Flower Kings: musical paintings full of color and nostalgia

The evening opened with a 75-minute set by The Flower Kings. Roine Stolt and his companions delivered a carefully curated selection of their recent work, complemented by epic nods to their rich past. The focus was on the albums LOVE(2024) and Look at You Now (2023), but classics like Big Puzzle and Last Minute on Earth also received warm welcomes.

The energetic “We Claim the Moon” set the tone. With its catchy riffs, flamboyant vocal interplay  and the vibrant keyboard work of Lalle Larsson, the band made an immediate impression. The raw, almost Beatlesque energy was delightfully disrupted at the end in true Flower Kings fashion.

Next came the fragile “How Can You Leave Us Now!?”—a tender melody carried by Michael Stolt’s sensitive bass and dreamy piano lines, offering a moment of introspective melancholy. As the lead single from LOVE, it gave the audience chills.

With “Considerations,” the band returned to epic territory. Written by bassist Michael Stolt, the ten-minute piece gave a fresh twist to their sound. Gospel-like choral parts, pumping synths and a glorious guitar solo built to an impressive climax.

The mini-epic “The Elder” cast its spell with dreamlike piano passages, jazzy undertones, and expressive guitar lines, taking the audience on a moody journey. The band’s trademark vocal harmonies reached their full potential here.

A step back in time followed with “Last Minute on Earth” (2001), reflecting the band’s darker side. Fröberg’s powerful vocals and roaring guitar lines brought both nostalgia and urgency.

A surprise interlude came with Larsson’s solo performance—a piano piece delivered with both flair and emotion, creating a moment of calm and reverence.

For longtime fans, the highlight was “Big Puzzle.” This closing track from their 1995 debut album featured a jazzy intro, Santana-esque interludes and a majestic climax. The final guitar solo was met with spontaneous applause.

The set closed with “The Dream” from Look at You Now—a dreamy and hopeful track that perfectly matched the concert’s atmosphere.

The Flower Kings once again proved at  the 013 why they belong to the very top of progressive rock. Technical virtuosity, melodic mastery and emotional depth came together in a captivating, colorful performance.

Neal Morse & The Resonance: spiritual energy with a fresh lineup

Neal Morse returned to familiar ground—but with a new band and fresh energy. No Hill For A Climber, his first full-length album under the name Neal Morse & The Resonance, was the centerpiece of a performance that blended boldness, craftsmanship and emotional expression.

Morse was joined by five young musicians from the Nashville region  with whom he had previously worked locally. Despite their lack of international experience, they played as a tight and cohesive unit. Singer Bisaha stood out with his powerful, soulful voice, while guitarist Madatian impressed with razor-sharp solos and infectious joy.

Yet it was Morse who led the show—not in an authoritarian way, but with the quiet authority of a musical veteran who generously shares his world. His charisma and humble presence gave the performance a sincere and personal tone.

The set consisted of a full performance of No Hill For A Climber, followed by two encores.

The show opened with “All the Rage,” a track bursting with fierce energy and sharp riffs. It was immediately followed by “Thief,” darker and more angular in tone, echoing the influence of King Crimson. A daring but effective choice that kept the audience fully engaged.

“Eternity in Your Eyes” marked the first true peak of the set—a grand Morse-style symphony built on themes of hope and introspection. The crowd was drawn into a collective experience of beauty and upliftment.

This was followed by the intimate “Ever Interceding,” a quiet, spiritual moment with Morse’s vocals striking a deep emotional chord. The hall fell completely silent—an intense, goosebump-inducing pause in the journey.

The suite “No Hill for a Climber” served as the emotional and structural centerpiece. Clocking in at around 30 minutes, it flowed seamlessly through acoustic interludes, theatrical peaks  and complex transitions. Morse once again demonstrated his mastery of the long-form composition  while the band matched him with confidence and finesse.

After a brief pause, the band returned with “Stranger in Your Soul,” the beloved Transatlantic epic—featuring a surprise appearance by Roine Stolt. Only sections I and VI were performed (including a “Bridge Across Forever” fragment), but that was more than enough to send the crowd into raptures.

The night ended on a joyful note with “Wind at My Back” from Spock’s Beard. The audience sang along loudly, turning the chorus into a collective catharsis—a hopeful and emotional end to a powerful evening.