These are the number of year intervals between Peter Gabriel’s seven solo albums of original material, dating back to his debut in 1977. Ever forging ahead, Peter Gabriel (PG) has seldom looked back in his career, though he did indulge fans with the Back To Front and Rock Paper Scissors (with Sting) Tours over the past decade. Notorious for moving creatively at his own pace in pursuit of perfection, our journey began when PG announced in November 2022 plans for a new record and tour in 2023.
PG and his band played to a well-attended audience at the large-american-bank-sponsored Arena in Washington DC on 20 September. Except for a few stops in Atlanta decades ago, PG seldom plays in the Southeast United States, so a road trip is usually in order for this writer. We were greeted by a road crew wearing orange jump suits, and a manual clock counting down the start of the show.
PG set the tone for an intimate evening with an audience chat, joking that his youthful persona has been replaced by an older, fatter, balder avatar of himself. Though he didn’t go into any deep discussion of Artificial Intelligence (AI), many of the lessons and themes of the night were consistent with his previously documented world-view.
“We are entering a world that is about to be fundamentally transformed by AI. Many people see AI as the enemy, but along with extraordinary scientific, functional and creative tools, it can provide great education and better healthcare to billions. It also has many inherent potential dangers that we urgently need to address.
Like the wheel, or the industrial revolution, I believe the changes coming with AI are unstoppable, but we can clearly influence them.”
PG opened a duet rendition of Washing Of the Water with long-time bassist Tony Levin, a partnership that began in 1977. He was then joined by the remaining band for a “fireside” performance of Growing Up, where the clock transformed into a Moon, consistent with his Full-Moon release theme of the I/O record.
It is little spoiler to report that 11 of the 12 new songs from I/O were performed this evening, including two songs that have yet to be released. Like the launch the first single on the first full moon, 6 January 2023, the electric portion of the show opened with Panopticom. Each subsequent song has been schedule for release on the next full moon of the lunar cycle, accompanied by cultivated artwork, Bright-Side and Dark-Side mixes, and eventually In-Side mixes in Dolby Atmos.
Along with the addition of 1992’s Digging In The Dirt, this set ended with Sledgehammer, featuring the bold footwork of three old white, bald men, including David Rhodes who has served as PG’s guitarist since 1980.
The second half began with new tunes Darkness, and Love Can Heal, featuring a new artistic angle, performing behind a clear video screen from which he generated images, and cast shadows to great effect.
During this set, new band member Ayanna Witter-Johnson shined with stellar cello work, and a memorable duet of Don’t Give Up.
One of the strongest new tracks, The Court, is another example of PG’s uncanny ability to call out social and political injustice, without alienating any side of his audience and drawing us closer to a better version of ourselves.
We lost the line between the good and bad
We lost the line between the sane and the mad
Used to draw the line across the writing pad
The line of conscience that we never have had
Drummer Manu Katché turned many heads in the drumming community after his debut with Peter Gabriel in 1986 on So, and he really cut loose on classic tracks Red Rain and Big Time, generating an inimitable groove with Funk-Finger equipped Tony Levin.
The final new song of the evening was the yet-to-be-released Live And Let Live, and it was a great reminder of the care that PG has taken to deliver these new songs. In an age where most music is consumed as a digital commodity, PG has rolled out the songs of I/O in a memorable form that elevates their artistic merit, and presented them live in a way that deepens my appreciation for each song.
The evening ended with Solsbury Hill, the classic telling of how he “walked right out of the machinery” back in 1975, but still maintains a close relationship with his former bandmates to this day. This was followed by two encores: In Your Eyes, and the legendary Biko.
Peter Gabriel has consistently been at the forefront of music technology, world music, and human rights, long before imitators deemed it cool. His new release and this tour are reminders that it may take years….decades for him to make his next statement, but he always maintains a pace ahead of the pack, and we are fortunate that he shares his vision with us.
