From July 19th to 21st, 2024, the 17th and final edition of the Night of the Prog Festival took place at the Loreley Amphitheatre, high above the Rhine near St. Goarshausen. Each day featured seven bands, with a clear emphasis on acts that had previously performed at the festival. But there was still room for some lesser-known promising bands that brought pleasant surprises. Day one started dynamically with Inhalo and ended powerfully with Riverside. Day two offered a varied program with performances from !GERALD! and Steve Hackett, among others. The final day began strongly with OK Goodnight and ended with an impressive set by Big Big Train. The festival days were marked by intense heat, causing many people to seek shade. The significantly larger number of visitors, estimated between 5000 and 8000, sometimes led to long queues at the merchandise-, drink-  and food stands. Despite the crowds, the atmosphere remained as friendly and pleasant as ever. Earlier, a preview of this final edition was published on this website. Read the preview here.

Day 1 

The opening act was Inhalo, who immediately captured attention with their intense and evolving prog rock, despite the slowly arriving crowd. Their set began calmly but quickly built to a powerful climax. Next, the colorful and energetic Spaniards from Cheeto’s Magazine brought a lively party atmosphere with their vibrant and quirky music. Their performance was a delightful mix of traditional prog elements and modern influences, making for an extraordinary and festive set.

The afternoon continued with the talented band Izz. Sylvan followed with emotional neo-prog, maintaining a strong connection with the audience, making their sixth festival appearance especially memorable. Alex Henry Foster and The Long Shadows then took the stage, delivering a psychedelic journey that blended indie, noise rock, and post-rock into a hypnotic experience. Arena delivered a powerful set with nostalgic hits and a strong performance, confirming their place in the neo-prog scene. The day was rounded off by an epic performance from Riverside, who reaffirmed their status as one of the top prog-rock bands. Overall, this first day set a high standard for the rest of the festival.

Inhalo – Dynamic prog kick-off with intense build-up.

The final edition of the festival kicked off at 2:00 PM with the Dutch band Inhalo. Although the audience was still slowly filtering in, Inhalo managed to captivate them immediately. Their blend of progressive and alternative rock, showcased on their debut album Sever from 2022, was well-received. The set began with some gentle tracks but quickly built to a powerful climax. The edgy music, with its inherent sense of tension, at times recalled the sounds of Riverside, Tool, and Opeth. Despite the absence of keyboards, the band managed to create intriguing soundscapes. Notably, their cover of “Secret Isle” served as a tribute to Fons Herder’s past with A Liquid Landscape, a band he co-founded and with which he also performed during the 2014 edition of the festival. However, the volume was sometimes poorly adjusted, making subtle nuances inaudible. Overall, Inhalo delivered a solid opening for the festival with their dynamic performance.

Cheeto’s Magazine – Energetic and quirky prog party.

A party erupted when the colorfully clad Spaniards from Cheeto’s Magazine took the stage. Bursting with energy, the band offered a versatile and quirky brand of progressive rock. After a previous delay due to the pandemic, their vibrant presence and upbeat musical style were a welcome addition to the festival. The energetic performance and their southern cheerfulness were infectious, making their set a lively and memorable highlight of the event.

The keyboardist and singer, especially the one in blue but also the one in green, acted as the clowns of the group, writhing across the stage and pulling the most comical faces. The music was rich in keyboard parts, with influences from Spock’s Beard and Frank Zappa clearly audible. A fun surprise was their rendition of “I Am The Walrus” by The Beatles. Amidst all the silliness, they played a beautiful piece of symphonic rock almost nonchalantly, with an abundance of keyboard solos.

It was a party where the audience eagerly danced along. The mix of traditional prog elements with modern, bizarre influences created an extraordinary and cheerful performance that brought much joy and a positive atmosphere. Cheeto’s Magazine proved to be an unexpected delight.

Izz – Intricate but marred by sound issues.

With high expectations, Izz took the stage at 4:30 PM. However, following the lively performance by Cheeto’s Magazine, the bar had been set high. Founded by the Galgano brothers in New York in 1996, Izz has developed a refined sound over the years. During their set, they played tracks from their latest album, Collapse the Wave, released in 2024. Despite some distracting sound issues that occasionally turned the music into a sonic mush, they demonstrated their potential with intricate compositions, featuring contrapuntal and lush keyboards, complex male and female vocals, and captivating guitar and synthesizer solos reminiscent of Yes, Gentle Giant, and Glass Hammer. However, their music didn’t fully come to life. I would love to give this band a second chance under different circumstances.

Sylvan – Emotional neo-prog with strong audience connection.

As veterans of the festival, Sylvan returned to the stage for their sixth performance, providing a beautiful reflection on their 25-year career. This neo-prog band from Hamburg, which played at the very first edition in 2006, received an enthusiastic welcome from the audience. The powerful vocals of Marco Glühmann and the impressive guitar work of Jonathan Beck were remarkable.
Sylvan primarily focused on ballads, their strongest suit, beginning with “In Between” from their 2015 album Home. The rest of the setlist included tracks such as “Encoded at Heart” and “Trust in Yourself” from their 2021 album One to Zero, as well as older favorites like “Given – Used – Forgotten” from X-Rayed (2004). The audience was fully engaged, with fans singing along, enhancing the atmosphere even further.

Highlights included performances of “In Chains,” “The Colors Changed,” “A Kind of Eden,” and the closing track “Posthumous Silence” from their 2006 album of the same name. These songs emphasized the melancholic and emotional side of the band, clearly reflected on the faces in the front rows. Although the sound was not always optimal, sometimes forcing Marco Glühmann to sing above the instruments, this did not detract from the band’s technical proficiency and energetic performance.

Alex Henry Foster – Psychedelic, hypnotic, and immersive.

The performance of Alex Henry Foster and the Long Shadows, postponed from last year, also did not disappoint. Known for his work with Your Favorite Enemies and his solo efforts, Foster brought a psychedelic experience to the stage with a mix of indie, noise rock, and post-rock infused with progressive influences. When I discovered this band a few years ago as a supporting act for The Pineapple Thief, I suspected they had the potential to break into the higher echelons.

The music often starts calmly and then builds up to overwhelming soundscapes, creating a hypnotic effect on the audience. The set began with “Up Til Dawn,” a song that slowly immersed the audience in the atmosphere with its tranquil and dreamy intro. Then he played “Afraid,” where the music gradually built toward an intense climax. The hypnotic power of his music, despite some drawn-out moments, kept the audience enthralled. “De Son of Hannah” and “The Hunter (By the Seaside Window)” from his 2019 album were highlights of the set. These tracks emphasized Foster’s ability to transition from serene beginnings to powerful musical explosions.

His music is downright hallucinogenic with endless soundscapes that sometimes feel like a wall of sound. Foster’s performance transcended mere music. He also captivated the audience with his words, almost preaching, urging his listeners not to think of tomorrow and the world’s problems but to enjoy the moment and the people around them. He went far in his interaction with the audience, even venturing into the crowd with his guitar to let fans play it. The set concluded with “From the City to The Ocean,” a song that perfectly encapsulated the themes of his music.

Foster’s ability to create a hypnotic and emotional atmosphere live made this performance one of the most memorable of the festival. Besides Foster himself, the band consisted of a talented group of musicians. Ben Lemelin excelled on guitar and drums, Jeff Beaulieu provided powerful bass lines, Sef Lemelin shone on guitar and keyboards, Isabel Paradis added extra dimensions with her playing on keyboards, flutes, brass instruments, and backing vocals, while Charles “Moose” Allicie held the rhythm steady on drums.

Arena – Powerful neo-prog with nostalgic hits.

Arena, an established name in the neo-prog scene since 1995, delivered a powerful and emotional set with excellent sound quality. Founded by Mick Pointer, the original drummer of Marillion, and Clive Nolan, the keyboardist of Pendragon, Arena has gone through many lineup changes in its nearly 30-year history. The current lineup, consisting of Mick Pointer (drums), Clive Nolan (keyboards), Mark Bogert (guitar), Kylan Amos (bass), and the charismatic singer Damian Wilson provided a performance that was well-received by most.

Damian Wilson, who has been with the band since 2020, emerged as a true showman, constantly energizing the audience with his powerful voice and impressive stage presence. Wilson made extensive use of the catwalk to connect directly with fans, further amplifying the energy in the crowd. The setlist focused on their albums The Visitor and Contagion, featuring tracks such as “The Hanging Tree” and “A Crack in the Ice.” The series of tracks from Contagion brought intense energy to the stage with “Salamander,” “The City of Lanterns,” “Riding the Tide,” and “Ascension.” Mark Bogert effortlessly filled in for John Mitchell, who was unavailable due to other commitments. The band gave Bogert plenty of space to solo, which he did with great flair.

In addition to the classics, Arena also played newer tracks such as “The Equation (The Science of Magic)” and “Life Goes On,” as well as the popular “How Did It Come to This?” from The Unquiet Sky. The closing piece “Crying for Help VII” from the 1996 album Pride and the encore “A State of Grace” from The Visitor were received with great enthusiasm, forming a perfect conclusion to the set. Keyboardist Clive Nolan also played a significant role, demonstrating why he has been a mainstay in the band for so long. Arena once again proved why they hold an important place in the neo-prog scene and delivered one of the highlights of the evening. However, I was left with a sense of nostalgia for the eras of The Visitor and Contagion. I prefer the voice of Rob Sowden, which complements much more the music of Arena.

Riverside – Epic closing with a journey through their discography.

The performance by Riverside closed the first scorching day of the festival in a fitting manner. This Polish prog-rock band, known for their deep and evolving sound, delivered a performance that met the expectations of the many attendees. Playing at the festival for the fifth time, Riverside began their set with the dynamic “#Addicted,” characterized by its catchy melodies and powerful lyrics. What followed was a journey through their rich discography.

The setlist included both old favorites and new songs such as “Panic Room” from Rapid Eye Movement (2007), with its intense buildup and powerful climax, and the more experimental “Landmine Blast” from their recent album ID.Entity (2023). During “Big Tech Brother” and “The Place Where I Belong” from ID.Entity, the strength of their latest work was evident, with complex rhythms and captivating melodies that are central to Riverside’s unique sound.

Mariusz Duda, who impressed as both singer and bassist, managed to hold the audience’s attention with his charisma and speeches between songs, although some felt he could have ‘preached’ a bit less. The performance of the melancholic “Left Out” from Anno Domini High Definition (2009) and the playful “Lost (Why Should I Be Frightened By a Hat?)” from Love, Fear and the Time Machine (2015) were also highlights. Both songs showcased the diversity of their music with emotional lyrics and powerful musical passages.

Technically, the other band members also demonstrated their exceptional skills. Guitarist Maciej Meller impressed with the complex layering in his solos, while also capturing the atmosphere with his atmospheric sounds. Drummer Piotr Kozieradzki provided a solid rhythmic foundation with his precision and dynamics, taking the music to a higher level. Keyboardist Michał Łapaj filled the sound spaces perfectly with his masterful playing, ranging from subtle piano sounds to powerful synth tones. The light and laser show enhanced the atmosphere and provided a visual spectacle that perfectly matched their music.

The regular setlist ended with “Friend or Foe?” from ID.Entity (2023), a song that nicely balanced old and new sounds. This was followed by an encore with an extended version of “Conceiving You” from Second Life Syndrome (2008), a song that beautifully concluded the emotional journey of the evening. All in all, Riverside provided a fitting conclusion to the day.

Watch the full Gallery of Day 1 here!

DAY 2

Day 2 of the Night of the Prog Festival kicked off with !GERALD!, a French-English band known for their surreal and avant-garde prog. Ritual followed, blending progressive rock and folk, though their performance lacked the live energy expected. Karnataka delivered symphonic and Celtic influences with powerful performances, while Beardfish presented an eclectic mix of rock styles and a promising new track.

Lazuli, the French band combining rock, world music, and electronics, captivated the audience despite technical issues. Pendragon paid tribute to their long career with a mix of classics and recent tracks. The day concluded with Steve Hackett, whose “Genesis Greats, Lamb Highlights & Solo” program provided a memorable end and reaffirmed his status as a leading figure in progressive rock.

!GERALD! – Surreal and Intense Prog

The second festival day kicked off at 13:45 with !GERALD!, a French-English quartet known for their experimental approach since 2018. The band, consisting of Teddie Burton (drums/vocals/sound effects), Marvin Gobert (guitar/vocals), Marin Michelat (keyboards/vocals), and Quentin Loizeau (bass/vocals), opened the day with a compelling and intense set. Their music, a wall of heavy keyboards and powerful guitar work, stood out for its surreal and challenging character. Influences from bands like Gong, Magma, and King Crimson were palpable, but !GERALD! delivered their own innovative sound.

The setlist included four tracks from their recent mini-album Music For Broken Elevators and three from The Lost Tapes. The eccentric style and complex rhythms were present in every song, with drummer Teddie Burton particularly standing out for his inventive use of sound effects and unexpected vocal contributions. Although the music wasn’t always easy to follow, it provided a unique experience that encouraged active listening and reflection.

!GERALD! captivated the audience with their experimental sound and avant-garde approach. Despite the early hour, they delivered a performance that proved their music can make an impact at any time of the day. Their set was a testament to their place in the avant-garde scene and a promising preview of what’s to come.

Ritual – Progressive Folk Fusion with a Twist

At 3:00 PM, Ritual took the stage, a Swedish band founded in 1988 known for their unique blend of progressive rock and folk. The lineup includes Patrik Lundström (vocals and guitar), Fredrik Lindqvist (bass, flutes, mandola, piccolo), Johan Nordgren (drums), and Jon Gamble (keyboards). Their performance presented an intriguing mix of traditional folk influences and complex progressive structures, with clear nods to bands like Gentle Giant and Yes.

Although their technical skills were undeniable, the performance lacked the impact one might expect from a live show. The use of pre-recorded soundtracks contributed to a sense of detachment, causing the energy and engagement typically associated with live performances to fall short. The setlist primarily featured tracks from their upcoming album The Story of Mr. BOGD Part 1, which was a bold choice but did not fully convince all audience members.

Ritual’s music was marked by a hybrid style, weaving traditional folk elements into complex layered rock compositions. While the setlist offered a rich variety of sounds—from Eastern-tinged vocals and acoustic strumming to lush keyboards and melodic flutes—the execution sometimes felt chaotic and disjointed. The harmonies and the multi-instrumental talents of Fredrik Lindqvist stood out, but the overall coherence and sparkle were missing.

Karnataka – Symphonic Prog with Celtic Flair

Then the Welsh progressive rock band Karnataka took the stage. Founded in 1997, the band is currently led by bassist Ian Jones and includes Sertari (vocals), Luke Machin (guitar), Rob Wilsher (keyboards), and Jack Summerfield (drums). Known for their symphonic and Celtic-influenced prog rock, Karnataka delivered a performance that combined rich melodies with epic layered compositions.

The set began with a mix of older tracks and selections from their latest album Requiem for a Dream (2023). Sertari’s powerful and emotionally charged voice immediately captured attention, complementing the band’s signature blend of symphonic and Celtic elements. Her vocal prowess added a compelling new dimension to their music.

Guitarist Luke Machin was a standout, offering impressive and immersive solos that elevated the band’s melodies. However, despite the strong performances from Sertari and Machin, the show sometimes lacked cohesion and enthusiasm.

The highlight of the set was the closing track Forsaken from The Gathering Light. Machin’s guitar solo was a breathtaking showcase of emotional depth and technical skill, proving that Karnataka can still deliver moments of exceptional beauty. While the performance had its flaws, Karnataka managed to leave a positive impression, reinforcing their place in the prog rock scene and engaging the audience with a show that was both captivating and emotionally resonant.

Beardfish – An Eclectic Melting Pot of Complexity and Rhythms

Beardfish is a Swedish band that was originally founded in 2001 and made a comeback in 2022. The current lineup includes Rikard Sjöblom (keyboards, guitar, and vocals), David Zackrisson (guitar), Magnus Östgren (drums), and Robert Hansen (bass).

Their performance was a vibrant mix of progressive rock and Southern rock influences, showcasing their unique blend of traditional and contemporary elements. Known for their complex structures and unconventional rhythms, the band’s sound is a melting pot of influences ranging from classic prog bands like Yes and King Crimson to hints of Queen and hard rock.

From the moment the first chords of And the Stone Said: If I Could Speak filled the air, it was clear that Beardfish is anything but conventional. Their music, characterized by its dynamic shifts and eclectic mix, often veers between melodious passages and heavier, more experimental sections. This varied approach makes their music both innovative and nostalgic for fans of progressive rock.

Rikard Sjöblom, as both keyboardist and guitarist, demonstrated his versatility, while his vocal style added a raw intensity to the music. Although his singing might not be universally accessible, it uniquely enhanced the atmosphere of the performance. The addition of a female vocalist provided an extra layer to the vocal arrangements, creating an intriguing interplay of harmonies.

The setlist was further enriched by the virtuosity of bassist Robert Hansen, whose complex and melodic bass lines laid a strong foundation for the rest of the band. His playing was both solid and playful, keeping the audience engaged throughout.

One of the special moments of the evening was the debut of a new track, In the Autumn. This song seamlessly fit into the set and showcased their ability to innovate while staying true to their distinctive sound. It was a promising glimpse of what might be expected from their future album.

While their music can sometimes feel chaotic and elusive, their performance served as an excellent warm-up for the rest of the evening. Their show highlighted their skill at blending diverse influences into a coherent and compelling presentation, leaving the audience both entertained and intrigued.

Lazuli  – A Poetic Fusion of Rock, World Music and Electronics

Lazuli is a French band celebrated for their distinctive blend of rock, world music, and electronic influences. Despite encountering technical difficulties at the beginning, they quickly enthralled the audience with their poetic and sophisticated music, all performed in French.

The set commenced with Les chansons sont des bouteilles à la mer, initiating a voyage through their intricate and layered musical landscape. Charismatic frontman Dominique Leonetti led the audience with his powerful and emotionally charged voice, delivering French lyrics that added a unique lyrical depth to the performance.

Drummer Vincent Barnavol displayed his versatility with a variety of percussion instruments, including traditional drums and marimba. His energetic drumming contributed a rich rhythmic texture to the band’s sound and kept the performance engaging.

A highlight of the evening was the performance of Triste carnaval and Quel dommage, which revealed the band’s playful and melodic nature. These tracks, enriched with subtle electronic elements and world music influences, deeply engaged the audience. Romain Thorel, seamlessly transitioning between keyboards and French horn, further enriched the band’s complex sound.

Claude Leonetti’s leode, a rare instrument resembling a singing saw with an Eastern influence, delivered a particularly memorable performance. Although technical issues at the outset prevented the band from showcasing their impressive marimba playing, songs like Être et ne plus être and Chaque jour que le soleil fait fully captivated the audience. The melancholic melodies and profound lyrics of these tracks revealed their introspective side.

The performance reached its peak with Le miroir aux alouettes, where the band unleashed their creativity and immersed the audience in their musical world. The leode reached its zenith during Le miroir aux alouettes, where its unique sound added a captivating and mystical quality to the music.

The closing track, Les courants ascendants, offered a powerful conclusion to an evening rich in musical depth and emotional resonance. Lazuli once again proved why they are a favorite among festival-goers and a vital part of the progressive rock scene.

Pendragon  – A Tribute to Their Neo-Prog Career

Pendragon reaffirmed their status as a cornerstone of progressive rock since their inception in 1978. The current lineup, consisting of Nick Barrett (guitar and vocals), Clive Nolan (keyboards), Jan Vincent Velazco (drums), and Peter Gee (bass), with support from Rog Patterson (guitar) and backing vocalists Johanna Stroud and Sally Minnear, delivered a performance that left a strong impression.

The concert opened with “If I Were the Wind (and You Were the Rain),” immediately exposing the emotional depth of the band. Nick Barrett, dressed in an outfit reminiscent of The Masquerade Overture, provided a powerful and passionate delivery. The setlist featured a well-curated mix of recent tracks and beloved classics. Following the opener was “360 Degrees,” which came across much more effectively live than on the studio recording, with renewed energy and rhythm. Classics like “A Man of Nomadic Traits” and “Paintbox” evoked a sense of nostalgia. Clive Nolan’s virtuoso keyboard work was particularly striking, adding extra depth and emotion to the songs.

A memorable moment was the acoustic interlude with “King of the Castle,” where Barrett set aside his electric guitar to showcase the purity of the acoustic sound. His guitar playing and vocals were beautifully complemented by the harmonies of Stroud and Minnear. The energy surged back with tracks like “Indigo” and “Nostradamus (Stargazing),” featuring powerful riffs and engaging melodies. The set reached its peak with “This Green and Pleasant Land,” which made a significant impact both musically and lyrically.

The absolute highlight of the evening was “Breaking the Spell,” with its emotive guitar solos and poignant melodies. Barrett’s performance was superb, and it felt as though the band and the audience were fully immersed in the music. Nick Barrett’s guitar playing was exceptional, often compared to legendary musicians like David Gilmour. Clive Nolan’s keyboard contributions added considerable richness to the band’s sound. Drummer Jan Vincent Velazco’s dynamic performance and Kylan Amos’ bass lines contributed to the band’s strong musical foundation. Rog Patterson enhanced the guitar work and occasionally added backing vocals, while Johanna Stroud and Sally Minnear intensified the emotional impact of the songs.

Pendragon delivered a show that was both a tribute to their illustrious career and a celebration of their enduring influence on the prog rock scene. Their setlist, blending timeless classics with newer material, demonstrated that they remain one of the most consistent and emotionally compelling bands in the neo-prog genre.

Steve Hackett: An Ode to Progressive Rock

At precisely 23:00, Steve Hackett, former guitarist of Genesis, took the stage to close the evening. With his program Genesis Greats, Lamb Highlights & Solo, he celebrated the 50th anniversary of the iconic album The Lamb Lies Down on Broadway. Alongside his talented band, Hackett delivered a performance that perfectly balanced nostalgia with musical virtuosity.

In front of the stage, three chairs were set up, one of which was reserved for Hackett’s wife, Jo. This gesture highlighted the personal and intimate nature of the performance and underscored the strong family bond within the Hackett household. The evening began with powerful numbers such as “People of the Smoke” and “Circo Inferno,” setting the stage for what would become a magical experience. Hackett’s virtuosity and passion were evident in every note, with a particularly atmospheric touch during “The Devil’s Cathedral.”

A standout moment was the second part of “Shadow of the Hierophant,” where the musical synergy between Hackett and his band members came to the fore. Roger King on keyboards added depth to the music with his powerful and melodic playing. The setlist featured a carefully curated mix of solo tracks, highlights from The Lamb Lies Down on Broadway, and Genesis classics. Hackett moved the audience with masterpieces like “Fly on a Windshield,” “The Chamber of 32 Doors,” and “The Lamia.” He captured the delicate nuances of these pieces perfectly, allowing the audience to experience the silence during the quieter passages.

The band members also significantly contributed to the success of the evening. Nad Sylvan, the vocalist, brought extra energy with his powerful voice and emotional performances. Jonas Reingold on bass provided a solid musical foundation and stood out with his virtuosic playing. Craig Blundell excelled on drums with dynamic rhythms and an impressive drum solo that kept the audience on edge. The sound quality during the performance was exceptional, surpassing everything heard earlier at the festival. The audience visibly enjoyed the variety of the setlist, which also included beautiful tracks like “Dancing With the Moonlit Knight” and “Cinema Show.” The climax came with “Firth of Fifth,” where Hackett’s iconic guitar solos created an unforgettable moment. “Los Endos” concluded the evening, with Craig Blundell delivering his drumming part with undeniable energy.

Steve Hackett once again proved why he is one of the leading figures in progressive rock. His blend of technical perfection and emotional depth made for an evening that was both nostalgic and refreshing. Hackett’s performance on the rock of Lorelei was a shining example of his unparalleled talent and the enduring impact of his music.

Watch the full Gallery of Day 2 here!

Day 3 

The final festival day began with OK Goodnight, who opened with their prog metal and melodies. Their set, featuring The Fox and The Bird as the centerpiece, provided a strong start. The Windmill followed with their retroprog style, influenced by Camel and Pink Floyd. I missed Amarok due to other commitments. MEER delivered an energetic mix of pop, classical music, and prog rock. The Flower Kings gave a powerful yet shortened set due to technical issues, including tracks like “Garden of Dreams” and “Stardust We Are”.

The Steve Rothery Band performed Marillion classics and solo work, concluding with “The Last Straw” and the emotional “Sugar Mice”. Big Big Train closed the festival with a set of old and new songs. Despite the bad weather and the absence of the brass quartet, their performance was a strong conclusion.

OK Goodnight – A Promising Start to the Final Festival Day

The final day of the festival began with a bang as OK Goodnight took the stage early. This young band, born from a group of talented students, made a significant impact with their bold and intriguing mix of prog metal, delicate melodies, and heavy riffs. At 12:15 PM, they kicked off their set with their concept album The Fox and The Bird as the centerpiece.

From the outset, the band’s drive was evident. Lead vocalist Casey Lee Williams, with her powerful and raw voice, guided the audience through a narrative of friendship and survival set in a drought-stricken world. The set started strong with “The Drought,” drawing listeners into the album’s storyline with its layered structures and dynamic shifts. The band seamlessly transitioned into the title track, “The Fox and the Bird,” showcasing their versatility with immersive melodies and complex rhythms.

The chemistry among the band members was palpable. Martín de Lima demonstrated his versatility, shifting effortlessly between piano and guitar, while Augusto Bussio’s detailed drumming provided a solid foundation for the complex musical structures. Peter de Reyna’s tight and inventive bass lines kept everything together. Their collaboration shone brightly in songs like “The Falcon” and “The Bear,” which stood out for their musical depth and emotional resonance.

The set mainly featured material from their latest album but also included favorites from their debut album Limbo (2019), such as “Day & Night” and “Free Fall.” These older tracks were delivered with the same energy, adding a nice variety to the setlist. Songs like “The Racoon (and the Myth)” and “The Snake” further immersed the audience in the world OK Goodnight had crafted. The final track, “Rapture,” concluded the performance on an epic note, leaving the audience visibly satisfied.

An extra guitarist, Ricky Westrip, joined the band, adding a new layer to their sound with his guitar work. OK Goodnight made a strong impression with their performance, bringing a refreshing new voice to the prog scene. Their blend of styles and musical skills suggests a promising future, making for an excellent start to what would be a memorable final festival day.

The Windmill – A Journey Through Progressive Rock

As the second act, The Windmill transported the audience through their latest album. Known for their retroprog style that blends elements of Camel, Jethro Tull, Genesis, and Pink Floyd with neoprogressive and folk influences, the band has carved out a unique niche in the prog rock scene. Despite a lineup change since their last appearance five years ago, the band delivered a captivating performance.

The lineup featured Robert Viita (keys and vocals), Morten L. Clason (vocals, flutes, saxophone, guitar, and keys), Arnfinn Isaksen (bass), Erik Borgen (vocals and guitar), and Nils Harsem (drums), with Emil Olsen filling in temporarily for Morten’s son, Stig André. Their set drew heavily from their latest album Mindscapes (2024), showcasing rich musical compositions that blended classic progressive rock elements with modern influences.

The concert opened with the atmospheric “Calton Hill,” featuring lush keyboard textures and soulful guitar work reminiscent of prog rock’s glory days but with a contemporary twist. “The Masque” followed, ramping up the intensity of the set, enhanced by pantomime artist Elise Clason, daughter of Morten. With “Fear,” the band showcased their prog skills with a nearly 23-minute ballad, displaying intricate rhythmic structures and sparkling flute passages. The track evoked comparisons to “Supper’s Ready” with its powerful melodies. “Nothing in Return” combined symphonic, classic rock, and folk influences, reminiscent of Jethro Tull, Deep Purple, and Led Zeppelin.

The concert concluded with “I Still Care,” characterized by warm melodies and meaningful lyrics, enhanced by excellent keyboards and flute solos. While the performance was technically strong, the vocal delivery sometimes lacked emotional depth, and the eclectic arrangement of songs didn’t always resonate. Despite this, The Windmill’s technical prowess was evident, and their nostalgic yet modern approach to prog rock was well-received.

Amarok – Unfortunately Missed / Unfortunately, I had to miss the performance by Amarok, which followed The Windmill, due to other commitments.

MEER – A Refreshing Blend of Genres

The Norwegian eight-piece band MEER, led by the charismatic brother-and-sister pair Knut and Johanne Kippersund, delivered a vibrant performance filled with energy and musical craftsmanship. Featuring Johanne Kippersund (vocals), Knut Kippersund (vocals and keys), Eivind Strømstad (guitar), Ole Gjøstøl (piano), Morten Strypet (bass), Åsa Ree (violin), Ingvild Nordstoga Eide (viola), and Mats Lillehaug (drums), MEER showcased a unique mix of intelligent pop, classical music, and progressive rock.

Their diverse backgrounds were evident in their music. Eivind Strømstad’s blend of progressive and experimental influences with classical and film music, Ole Gjøstøl’s classical training and gospel influences, and the Kippersunds’ love for David Bowie, Pink Floyd, and Queen all contributed to MEER’s distinctive sound. The band’s performance featured a mix of songs from their second album Playing House (2021) and their upcoming album Wheels Within Wheels (2024).

The new material began strongly with “Chains of Changes,” a powerful track with lyrics reflecting on the changes and fears of aging, supported by robust keyboard lines reminiscent of Genesis. “Behave” highlighted the band’s ability to capture the complexity of human relationships, with orchestral strings and strong soundscapes creating a unique dynamic.

“Something in the Water” conveyed a melancholic atmosphere with lyrics warning of the consequences of our actions, possibly referencing climate change. Johanne’s powerful vocals stood out. “Come to Light” was a highlight, combining poetic lyrics with an optimistic message, reminiscent of classic hymns. “Golden Circle” closed the set with innovative guitar parts and a rhythmic, almost disco-like tempo.

From Playing House, “Beehive” stood out for its powerful drumming and intense strings, while “Across the Ocean” offered a refreshing uptempo feel with Knut on vocals. “Child” was particularly poignant, opening with delicate pizzicato on the violin and featuring a poetic monologue exploring themes of innocence, nature, and adulthood. The combination of musical finesse and emotional depth made “Child” one of the concert’s highlights, inviting the audience to reflect on their own experiences.

MEER’s performance showcased their unique ability to merge pop, classical music, and progressive rock into an immersive experience. Their upcoming album Wheels Within Wheels promises to be a must-listen for fans of sophisticated pop and symphonic prog.

The Flower Kings – A Powerful Yet Shortened Set

The Flower Kings, active since 1994 in the progressive rock scene, delivered a strong but unfortunately shortened set. Despite technical issues with the keyboard that cut their playing time by half an hour, the band showcased their talent with a selection of four tracks. This delay was particularly disappointing as a band of their caliber deserves the time to fully express their extensive and complex compositions.

The set began with a fragment of “Garden of Dreams” from Flower Power. Although shortened, this epic piece retained its magical atmosphere, offering a glimpse of the band’s musical grandeur. They followed with “Big Puzzle” from their debut album Back in the World of Adventures, featuring complex rhythms and melodic guitar riffs. Despite the limited time, Roine Stolt’s guitar work and Hasse Fröberg’s vocals were top-notch.

The introspective “What If God Is Alone” from Paradox Hotel brought a deeper, contemplative atmosphere, beautifully performed. The set concluded with the third segment of “Stardust We Are,” the title track from their renowned double album from 1997, delivering a powerful climax full of drama and symbolism.

Despite the technical setbacks and the truncated set, The Flower Kings’ performance was a strong testament to their place in progressive rock history. Their focus on classic tracks was a wise choice for long-time fans, although more from their new album Look at You Now would have been welcome. Nonetheless, they proved their ability to impress with their enduring classics.

Steve Rothery Band – A Journey Through the Prog Legacy of Marillion

Steve Rothery is a renowned English guitarist and songwriter, best known as one of the founding members of Marillion. Since its inception in 1979, Rothery has left an indelible mark on the band’s music with his distinctive guitar playing, often compared to legends such as David Gilmour and Steve Hackett. Rothery’s guitar work is characterized by its emotional expression and his ability to create dreamy, ethereal sounds. He utilizes a wide array of effects to give his Stratocaster a rich and layered tone. His solos are often melodic, infused with emotion, allowing him to deeply connect with the audience.

With the Steve Rothery Band, he aims to continue his musical legacy by playing both new music and classics from his time with Marillion. The goal is to give fans the opportunity to enjoy the timeless tracks they hold dear while also expressing his own artistic vision and creativity. The band comprises several talented musicians, including Dave Foster (guitar), an experienced guitarist who previously played with Big Big Train and Mr. So & So. Yatim Halimi (bass) is a former member of Panic Room, providing solid bass lines. Ricardo Romano (keys) adds an extra dimension to the musical compositions with his background in Ranestrane. Leon Parr (drums) is a versatile drummer who also played in Mr. So & So. Martin Jakubski (vocals) deserves special mention for his powerful and expressive voice. He knows how to move the audience with his emotional interpretation of the songs, making each track a unique experience.

We heard a selection of classic tracks from the early years of Marillion, with songs from the albums Misplaced Childhood and Clutching at Straws, as well as several tracks from his highly acclaimed solo album The Ghosts of Pripyat. Rothery began with the songs “Morpheus” and “Old Man of the Sea” from his solo album, followed by “King of Sunset Town” and “Kayleigh”. The dreamy sounds of “Lavender” and the emotional depth of “Bitter Suite” created an exuberant atmosphere, while “Heart of Lothian” fully captivated the audience.

Tracks like “This Town,” “The Rakes Progress,” and “100 Nights” were enthusiastically received, and Jakubski’s powerful vocals were impressive. What stood out during the performance was his interaction with the audience: singing along with the fans, emotional moments, dancing, and many hands in the air. Jakubski seamlessly combined and connected the Fish era and the Hogarth era, contributing to the nostalgia of the evening.

The evening ended with “The Last Straw” and the moving encore “Sugar Mice.” With powerful vocals, impressive guitar work, and strong band dynamics, it was an evening that fans will remember for a long time. The performance took us back to a bygone era and therefore touched the hearts of many attendees. The older generation of prog lovers, who grew up with the classic prog greats, loves to relive this period. This largely explains the success of many tribute bands such as The Musical Box, as well as the spin-offs from bands where a member revives the legacy of the original band. Think of Ray Wilson, Carl Palmer, Steve Hackett, and Nick Mason, who have appeared at the Night of the Prog one or more times, as well as the spin-offs of Yes and Wishbone Ash, which performed here earlier. For many, it is a true delight to experience this music again, especially when it is performed with such enormous professionalism as in this case. For those, however, who seek new and innovative progressive music in its most authentic meaning, there was fortunately also room for bands that brought fresh sounds.

Big Big Train – Closing a Memorable Festival

Big Big Train (BBT) had the honor of closing the prestigious Night Of The Prog Festival at Loreley at 9:30 PM. Under the leadership of their new Italian singer Alberto Bravin, who took over from the late David Longdon, the band delivered an impressive performance. The conditions were far from ideal, with high temperatures giving way to clouds and heavy showers, causing some of the weary crowd to retreat to their tents.

Those who stayed were rewarded with a set that included both classics and new tracks. Big Big Train played several songs from their latest album The Likes of Us (2024), including the title track “Oblivion,” which illustrates the new direction of the band. Bravin proved his worth as a frontman and added a fresh dynamic to the repertoire. Alongside the new material, beloved older tracks such as the majestic “East Coast Racer” and the poignant “A Boy in Darkness” were performed, providing emotional highlights of the evening.

A notable moment was the farewell to guitarist Dave Foster, who, despite his recent departure from the band, played one last time during “Love Is the Light.” His performance was a tribute to his contribution to the band. Unfortunately, the brass quartet, which often adds extra depth and grandeur to BBT’s music, was missing. It would have been wonderful if they, along with a string ensemble, had enhanced the instrumental finale “Apollo.”

Finally, there was no encore, which many found to be an unexpected and somewhat disappointing end to the festival. Despite this minor letdown, the concert was a worthy and impressive conclusion to the festival. The band showcased their musical craftsmanship and emotional power once again, leaving a lasting impression on those who stayed until the end. The atmosphere of this final edition was excellent, and despite the gloomy weather, Big Big Train provided a memorable close to a great festival.

Watch the full Gallery of Day 3 here!