Pendragon @ Zik-Zak, Ittre (BE) – 09.09.2025

Fifteen months after their previous visit, we once again made our way to Zik-Zak, the charming music club in the Belgian countryside south of Brussels. The trip through winding roads and dark fields ended at a packed parking lot, and inside we found the venue almost sold out. With a capacity of around 300, Zik-Zak provides an intimate setting where fans can get close to the performers. What struck us right away was the mix of generations: not only long-time followers in their sixties and seventies, but also many younger faces, a hopeful sign for a genre that doesn’t always attract new blood.

The evening opened with Rog Patterson, who, armed with his 12-string guitar, set a stripped-down and emotional atmosphere. His short set embodied the subtlety and intimacy of the folk-prog tradition and offered a delicate contrast to the grandeur that was about to follow.

Then Pendragon took the stage in full force. The core quartet of Nick Barrett (vocals, guitar), Clive Nolan (keyboards), Peter Gee (bass), and Jan-Vincent Velazco (drums) were joined by Patterson on guitar and two female backing singers who occasionally added flute and violin. Each musician brought their own strength: Barrett with his lyrical solos and warm voice, Nolan with majestic keyboard layers, Gee with his melodic yet grounded bass, and Velazco anchoring everything with precision and drive. The extra vocals and instruments added a surprising richness to the arrangements. 

The set began in spectacular fashion with the full performance of The World (1991). As Barrett himself pointed out during the show, this was a true turning point for the band, a record that marked their evolution from early neo-prog hopefuls of the ’80s to a group with its own unmistakable identity. Back in the Spotlight opened with energy and confidence, followed by the expansive The Voyager. The more introspective Shane and Prayer brought atmosphere and emotion, while the three-part suite Queen of Hearts (Part I: Queen of Hearts, Part II: …A Man Could Die Out Here…, Part III: The Last Waltz) unfolded like a mini-rock opera. The closing And We’ll Go Hunting Deer brought the hall to a hushed stillness, proving once again the band’s ability to captivate through subtlety as much as grandeur.

After this cornerstone album, the show moved into other parts of their discography. An acoustic King of the Castle (Not of This World, 2001) provided an intimate touch, before the band returned in full to deliver Eternal Light (Not of This World, 2001) and a surprise throwback to Kowtow (Kowtow, 1988), heavier and more vibrant live than on record. Alaska (The Window of Life, 1993) brought a surge of energy, followed by newer gems 360 Degrees and Explorer of the Infinite (Love Over Fear, 2020).

A highlight came when the audience chose Indigo (Pure, 2008) over Paintbox. Its dark intensity filled the room, showing Pendragon’s willingness to embrace spontaneity and connection with their fans. Afraid of Everything (Love Over Fear, 2020) closed the main set on a note both fragile and soaring.

For the encore, Breaking the Spell (The Window of Life, 1993) provided a majestic finale. It combined emotional guitar work, lush keyboards, a tight rhythm section, and the extra voices and instruments into a powerful climax.

What Pendragon delivered at Zik-Zak was far more than a nostalgia trip. The band demonstrated vitality, elegance, and relevance, with a set spanning over three decades of music. In a nearly sold-out venue with superb acoustics and a warm, intimate vibe, their performance reminded everyone why Pendragon remains one of the great survivors—and innovators—of the progressive rock scene.