Steven Wilson played his only two live shows this year a little more than a week shy of the release of his new album, Requiem For A Village. Therefore, he made sure the two-night Royal Albert Hall affair was as grandiose as the occasion required it. That included, apart from his absolutely phenomenal band, the Parallax Orchestra and choir.
Concerto for Steven Wilson, Group and Orchestra
Royal Albert Hall, London – 29 October 2026
Words: Bogdan Bele
Photography: Carl Glover
I make it into the respectable venue some time before the band takes the stage and, while I have been here before, it is impossible not to breathe in the air (pun intended) and think of all the great performances that happened between these walls.
Coincidentally, some by tonight’s headliner.
How much these two events mean to Mr Wilson’s devoted fans is clear by the number of languages spoken around me. Members of his devoted fanbase have flown in from all over the world.
I have, of course, taken a look at the previous night’s setlist and I must admit that I would not mind a repeat of most of it. The same way I would not mind if they were to go in a completely different direction. There is a lot to choose from.
One thing is certain, and very attractive to me at the same time, the second part will be The Overview album in its entirety, but with the orchestra.
Having had the opportunity to hear it live in a band-only setting last year at The Palladium, and review it here on MetalTalk, I am even more curious.
But tonight is about more than The Overview. As I mentioned, the new record is imminent, and the three singles Wilson has already previewed are some of the most interesting progressive music pieces released this year.
A Classic First Part
With all this in mind, one can only wait for the proceedings to begin. And so they do, with Home Invasion, from the exceptional Hand Cannot Erase, an album that I have liked a lot ever since its release.
The cavernous room resonates in sheer prog power, Craig Blundell’s excellent drumming an important part of it. Despite Blundell being put behind drum screens, at times the drums overpower a lot of the room.
The lighting is a great example of creating magic with a much smaller number of lights, using tasteful colours and perfect sync with the music. There are no screens, no projections, or anything of the sort. Tonight, the music is the focus.
As suspected, the tracks already released as singles from the new record all make appearances, starting with title song Requiem For A Village. Wilson does mention how you have to get the a capella intros right, especially if you have them on a lot of your songs. The song itself is just as impressive live as it is on record, with its combination of several musical ideas, jumping from that rapid riff to an almost industrial, Nine Inch Nails kind of feeling at times.
The band truly shines, especially the rhythm section of Blundell on drums and bassist Nick Beggs. It is an intriguing piece of music, with Steven oscillating, as he will do all night, between his keyboard station and picking up one of his PRS guitars.
The new album portion continues with On Chapel Slope and its eerie, atmospheric feeling, which works impeccably well, giving an almost religious ceremony feeling. A Basket Of Bees, a much more typically progressive new track, ends the new section.
Steven jokes about how this is a song in which he has crammed a lot of ideas into four and a half minutes, something he would normally do in about 13 minutes. The band is truly impressive again, especially the vocal harmonies.
The first section ends with something a lot in the room were hoping for, The Raven That Refused To Sing. Wilson’s vocal performance is one of the purest, most heartfelt artistic moments one could be lucky enough to witness.
And with this we are told to return after half an hour, as the second part gets set up.
With Orchestra – The Second Part
In the meantime, the stage completely transforms, as an entire symphonic orchestra, plus a choir, joins the stage, in the stands behind the band’s setup. What we will get next are the two parts of The Overview, Objects Outlive Us, and the title track, performed together by all those present on stage.
It sounds truly impressive, and it feels like this is what the Royal Albert Hall is meant for, not taking anything away from the first part.
At times, when bands add an orchestra for a show, they end up adding some textures to something that maybe does not really need them. It sounds good and nothing more. Tonight is exactly the opposite.
As we move through Objects Outlive Us, it feels like this is a work that was always meant to be performed this way, the musical experience enhanced by the possibilities and textures of the orchestra and choir. Also, towards the end of the first part, guitarist Randy McStine’s solo part is simply stunning, truly transporting the audience.
The Overview finds Wilson starting the track on keyboards, together with the orchestra, band joining in one after the other. The second part, a more meditative one, providing a sensation of floating into space and marvelling at its vastness, also benefits a lot from the new textures.
The arrangements are exceptionally well done, and the performances of all involved can not be faulted. The sound is not perfect at times, but it is mostly good, despite the massive room echoing at times with the busy soundscape.
The encore, after a well-deserved standing ovation, is interesting, to say the least. Our protagonist mentions how he was surprised to see that Lazarus was a hit in India, with everyone singing it, something not often happening with his songs. This is what happens in what is a beautiful moment, with everyone singing and phone lights everywhere. At a Steven Wilson show, believe it or not.
It ends with the orchestra making a return for Staircase, from The Harmony Codex, because what starts prog must end even more prog.
A true tour de force from all involved, and yet more proof that, if you are a Steven Wilson fan, the risk of the man ever repeating himself is not an option.
