London Astoria

21st March 1999

Whitchurch Festival

7th August, 1999

Whitchurch Festival

5th August, 2000

LA2, London

8th December, 2000

Mean Fiddler, London

15th December, 2001

The Colos-Saal, Aschaffenburg, Germany

16th February 2002

Venue: London Astoria                        Date:21/03/99         Price:£8.50

Setlist: Subterranea, The Wake, Human Nature, Out of Nowhere c/w Mamma Mia, The Last Human Gateway.

It seems only a short time ago that great names from the past like Yes and Jethro Tull were celebrating their landmark achievements of surviving in the music industry for 25 years. It is a somewhat sobering thought that IQ themselves have now been running for 20! Having been a dedicated follower in the band´s early days it came as more of a shock for me to realise I had not seen them play in the last ten of those. The gig at the Astoria was to be one of a series of showcase concerts to mark the last ever performances of the band´s last major CD,  their concept piece entitled Subterranea. I must confess that initially I was unsure about how far I was going to enjoy this re-union.  Subterranea although a superbly crafted album was,  for me at least, a little on the long side, and the thought of having the whole thing performed from beginning to end was, to say the least, daunting.

The show was accompanied by quite impressive back projections which included what can be best described as polarised video images which I found to be very effective.  Use was also made of a front projection screen which dropped down in front of the band (obscuring the stage) while images were thrown on to it. In the limited confines of the Astoria this did not work well for me as I could not really see the screen head on from where I was standing. Any negative impression that this may have created however was offset by the light show. IQ seem to have always worked with lighting engineers of the highest calibre in the past and this is something that has not changed.  The overall effect really managed to convey the mood and feeling of the music.

The band performed the whole of Subterranea from beginning to end with no interaction with the audience, one track was rolled neatly into the next and the band gave a tight punchy performance.  With a concept piece this lack of interaction is to be expected, but the downside of this is that it does leave a deep impression of a somewhat too clinical approach.

Once Subterranea was finished a lighter mood prevailed and the band belted out a brilliant performance of 'The Wake', this was performed with a power and feeling that shows the band have lost nothing of their old appeal. This was followed by 'Human Nature'.  This song comes from a part of the band´s history where Peter Nicholls was not a member, and I felt that the song did not really suit Peter´s style or range.  With the recent release of  'Seven Stories into 98' and also the current 'Songs from the Lost Attic', on sale at the gig, this seemed a strange choice, in view of the wealth of material that could have been drawn from, but it has to be said that the song seemed to be popular with much of the audience despite that.

For encores in the past IQ have always been well known for renditions of covers of works by other bands and this gig was no exception to the rule. A brilliant rendition of the Abba song Mamma Mia went down well with an ecstatic audience who joined in en masse with the chorus.  Wrapped around this was the track 'Out of Nowhere' taken from the album 'Ever'. Just when I thought it was all over and time to leave the band came out for one final encore.  We were treated to an amazing performance of The Last Human Gateway from the band´s `Tales from the Lush Attic´ album. I gained the distinct impression that Martin Orford had not been expecting this, as some major keyboard reprogramming seemed to be taking place as the song got underway, but this took nothing away from the sound and feeling of the piece.

One real criticism that has to be noted however is that the vocals did not come out well over the sound system, although I would have to say this is not a reflection on front man Peter Nicholl´s ability, but rather on the somewhat poor acoustics of the venue. The sound system ignored it has to be said that in the years since I last saw Peter perform he has gained considerable range to his voice.  Guitar work from Mike Holmes was faultless and Martin Orford´s keyboard work was of the highest quality throughout.  Paul Cook gave a very creditable performance on the drums.  Man of the match award however has to go to bassist John Jowett.  I have never seen a man portray such an obvious feeling of enjoyment while performing on stage.  He managed to jump, strut, and smile throughout the performance in such a way that it would have been difficult not to have a good time.   More performers should take note of this!!

At the end of the evening had the re-union been a happy one?   Well I have to say that despite initial misgivings, I have to say it was. I am rather looking forward to seeing IQ play again in the future, now where did I see those Whitchurch festival dates........

Simon

Venue: Whitchurch Festival                 Date: Saturday, 7th August 1999

Set List: Darkest Hour, It All Stops Here, Subterranea/Sleepless Incidental, Awake & Nervous, King Of Fools, Outer Limits, War Heroes/Nothing At All, Failsafe, Capricorn, Leap Of Faith, Narrow Margin.
Encore: The Wake, Out Of Nowhere/Mama Mia, Headlong.

It had been some years since I'd last seen IQ playing live (the last time I'd seen them, Paul Menel was their vocalist), and I wasn't sure how much they'd have changed and how much I was going to enjoy the show - but I can tell you straight off, I was most definitely not disappointed.  Whereas, in the old days, Peter Nichols used to hide behind make-up, costumes and masks; nowadays, he has no need for them, his whole manner more mature and confident and, along with this, his charisma has increased no end. The lovely Mike Holmes played, as always, some great guitar whilst obviously enjoying himself, as did the ebullient John Jowitt  (who struts and bounces in an irrepressible fashion).  Martin Orford, looking much refreshed after a good night's sleep was on top form. He'd flown back from Japan the previous day - and had then had performed a set with Gary Chandler. Paul Cook, known in the past as Mr Bear, kept control in his own inimitable way.

The set was a good mix, including songs from all stages of IQ's long career and starting with 'Darkest Hour', from the 1993 album, 'Ever'. A cheer went up, from the audience, when Peter introduced the next number, 'It All Stops Here' (from the very early Seven Stories Into Eight) and, I noticed, there were still a good few people who added the traditional "one, two, three, four ..." during the instrumental section, although everyone was hushed to listen to the evocative, subdues second verse - yes, I thought, they've still got it!

"If we seem more raggedy and ad hoc", Pete announced, "that's because we are more raggedy and ad hoc" - while, his voice was a little hoarse here and there, the audience didn't care: they were all enjoying themselves too much.

A giant video screen, covering the whole of the area behind the band, came alive at the opening chords of 'Subterranea'; images were flashed on the screen, along with the beats of the music until, during a quiet section, in contrast, the stage was starkly lit by blue and green spots. As the music again picks up, the screen, again, explodes into life, bombarding one's brain with multiple impressions.  Pete left the stage briefly, returning to sing 'Sleepless Incidental' wearing a blindfold which he kept on throughout the song.

"Many years ago, before some of you were born, we released an album on vinyl", declares Peter as he introduces 'Awake and Nervous', from 'Lush Attic'.  The crowd were with the band, joining in with the customary and ritualistic clapping - it's good to see that these old standards are still so well appreciated. At the end of the song Pete left the stage and Mike, now stripped of his guitar, moves to the back of centre stage, to play keyboards alongside Martin.  Pete's face, wearing rose tinted specs, appears, giant sized, on the video screen, singing 'King of Fools' (Subterranea).

After an energetic rendition of 'Outer Limits' (The Wake), Peter proclaims, "We'll slow things down, because we're all getting on" and the band break into a verse of the beautiful 'War Heroes' linked into 'Nothing At All', both of these from the album 'Are You Sitting Comfortably', from the Paul Menel era.

"We would like to take you back to a stormy, dark, dirty city by the name of Subterranea ... oh, it's the city that's called Subterannea!', is the proclamation that precedes 'Failsafe', during which Pete's wearing dark glasses and, from a distance, looks strangely akin to Lou Reed.  A wonderful effect during this song was when the band were silhouetted, against the highly lit backdrop.  This was followed by another track from Subterranea, 'Capricorn', which Pete dedicated to girlfriend, Gill, and featured Mike's lovely clear guitar.

In an inspired piece of silliness, Martin played 'Came Down' to a Samba beat, during which the guys do the twist - very silly - great fun. Then it's back to business with 'Leap Of Faith' (Ever) and we're on to the final number of the set, Narrow Margin', all twenty minutes of it, again, with the relevant video backdrop.

As the band returns for the first encore, JJ rushes to the front of the stage and shouts, at the audience, "You're all poofs!" - this is one phrase that he's not going to be allowed to forget for a long time - but, I get the feeling that he just doesn't care!

"See if you remember this one" says Pete, as the opening bars of 'The Wake' start. Lots of us evidently did remember, judging from the singing during, and the applause after the song - and the guys leave the stage again.

They come back on to a reprise of the 'Came Down' samba, or was it a tango this time?, to which Pete performed an hilarious dance with a towel! Then a little tease, as over the intro to 'Out of Nowhere', Pete sings the first few words of 'Now I'm Here' (the Queen song that IQ have used for encores in the past). After 'Out of Nowhere', the boys performed a creditable version of Abba's 'Mama Mia', along with dancing and bottom wiggling; then a chunk of Blur, band introductions, and a final chorus of 'Nowhere' before the band took their bows and left the stage.

After a sustained effort from the, now slightly depleted, audience, the guys returned to the stage. "Would you like another one?" asked Martin.  As he tries to play the first few phrases of music, he's twice foiled by Mike and JJ, but eventually manages to play the introduction to 'Headlong' (The Wake).  I was really pleased they'd played this one, it's always been a personal favourite - it made a great end to a fabulous gig.

In all, IQ played for over two hours - good value in anyone's books. The audience certainly enjoyed themselves and, I believe, the band did too.  They're taking a six month rest before starting work on the next album, so it'll be quite some time before we get the chance to see them again; but then we're promised "some new songs" - I, for one, can't wait ...

Marisa

Venue: Whitchurch Festival   Date: Saturday 5th August 2000

Setlist: Wurensh, Thousand Days, Dharma, State Of Mine, Darkest Hour, Mokey, Narrow Margin, Magic Roundabout, King Of Fools, Outer Limits, High Waters, The Wake, Wiggle, Leppo, Failsafe.
Encores: Human Nature, Subterranea, Awake and Nervous.

The band, excepting Pete, arrived on stage to hearty applause and began 'Wurench', from the '89 album 'Are You Sitting Comfortably' - John Jowitt was posing and spinning around the stage from the start. When Pete walked on a cheer rose from the audience. This is a song from the Paul Menel days, but Pete did a fine job and the audience showed their appreciation afterwards.

After a brief "Good evening" the band moved straight into 'The Thousand Days', an even older song from 'The Wake'. Peter's voice sounds a little hoarse at times - but this is more than made up for by the man's stage presence and the band's enthusiasm.

"Is it nice and warm down there?" asks Pete and tells us that they intend to play three new numbers tonight, the first of which is 'Dharma'.  This is a fast paced song highlighted by bell like tones provided by Martin, with a slower middle section featuring voice and piano, and a heavier ending with some nice guitar work from JJ. I look forward to hearing the album version of this.

Next, a brief trip into Subterannea land as the video backdrop switches on in response to the instrumental 'State Of Mine'.  While 'The Darkest Hour' (from 'Ever') gives John another chance to cover the whole stage in his inimitable fashion - then the backdrop reawakens while spotlights dance about the hall. This song comes across really well, during some parts of the show Peter was a little below par (he wasn't feeling well), but this was not one of those moments - great rendition.

A contrived, terrible joke led up to the title of the next new song, 'Mokey'.  This starts slowly and has a yearning quality to the first part then the sound explodes into the guitar led middle section - only to slow and fade as the stage lights dim to blue.  This is a strong song which, again, makes me look forward with anticipation to the new CD.

A change of feel as the metallic rhythm introduces 'Narrow Margin', the closing piece from 'Subterranea'.  After the first vocal part Pete leaves the stage, while Mike and JJ play their hearts out as we travel along a railway line at a fair lick of speed via the video screen.  Peter comes back to sing the middle sector, with the discordant keyboard sound, then leaves again as a sheet of flame leaps up behind the band only to turn into a death mask.  JJ and Mike take centre stage as the flames burn and, together with Martin, play the fabulous instrumental break before Pete returns to finish the song ... well done lads!

A photo of Les Marshall, aka Ledge, appeared on the back screen and Pete dedicated to him the next song, 'Magic Roundabout' (from 'The Wake'), to mark the tenth anniversary of his death. Tonight's was a slow version of this lovely song and the occasional hoarseness made it all the more touching.

The insidious threatening introduction to 'King Of Fools' heralded more video clips - and Pete's face magnified a thousand times singing.  This eases gently into the introduction to 'Outer Limits' again from 'The Wake'. Pete reappears in person to sing this bouncy, well loved ditty which gives JJ and Mike another chance to cavort!  The audience gave the band a well deserved special round of applause for this.  A special mention here for Lawrence Dyer - the lighting throughout this number was  superb, especially the amazing dancing spotlights!

Straight into 'High Waters' featuring Mike Holmes and, as Pete leaves the stage for this instrumental, the IQ insignia is displayed behind the band. Pete returns to the stage for 'The Wake' and immediately he, JJ and Mike are leaping in unison - and it's like someone's set them free from restraints. They prance jubilantly  and play this song, which still sounds fabulous, brilliantly - and the audience respond with the loudest applause of the evening so far.

Pete starts some banter and, responding to demand from the audience, asks Martin to play 'Wiggle', a number that Pete says "even I can remember the words to!" ... an extended version of this old standard ensues - with much audience interaction - "Men ... now, women ... those who are not sure!".

Another new song follows, 'Leppo'. This is a slow paced song with delicate and sensitive vocals - sounds great. During this fractals were displayed on the backdrop (Ace also told me how much his feet were hurting!). After the lovely vocals came a strong and very melodic instrumental passage featuring some complicated keyboard work - all accompanied by more stunning lights.  Pete returned to sing a final stronger vocal accompanied by some of Mike's fabulous guitar work ... this looks like being IQ's best album!

"We'll leave you with another song from 'Subterranea', this is 'Failsafe'" Pete declares.  He then leaves the stage to the rest of the band, returning to sing dressed in a black mac, dark glasses and gloves - these being quickly discarded. This went down very well too and, as the band left the stage, there were cries for "More" and sustained clapping.

For the encore they came back with 'Human Nature'. This song's tempo changes and vocal harmonies all went well and Pete hit the majority of the (very) high notes! They then left the stage briefly, coming back with thanks to the other bands and the road crew, before they launched into a spirited rendition of 'Subterranea' during which Pete introduced the band.

After sustained applause IQ returned once again and the opening bars of 'Awake and Nervous' ('Tales From The Lush Attic') were met with rapturous applause.  It was fabulous to hear this again live - even with the deliberate wrong notes!

IQ have always been good showmen and they certainly show no signs of stopping ... with Pete as the charismatic front man and the talent and enthusiasm of JJ, Mike, Martin and Paul it seems that they can do no wrong and I look forward to hearing more of the new material, and to seeing them play it.

Marisa

Venue: LA2, London                          Date: 8th December 2000

Setlist: Outer Limits; The Darkest Hour; Erosion; Failsafe; The Seventh House; State of Mine; Magic Roundabout; Subterranea (Overture / Provider / Subterranea); Guiding Light; Human Nature; The Enemy Smacks.  Encores: Awake and Nervous; The Wake

Despite the travel chaos currently htting the UK, exacerbated by the dismal weather conditions, it was a packed house that greeted IQ for the penultimate date of their promotional tour for the new 'Seventh House' CD. The set contained a balanced mix of material from the albums over the years, with three new songs played and both 'Subterranea' and 'The Wake' being well represented.

In view of the amount of material covered there was no support act and the band took to the stage comparatively early, a fact that caught a lot of people out since there were still many people milling around the foyer buying CD's and trying to get their coats hung up at the time!

The set opened with 'Outer Limits' and, from the word go, I was struck by how much better Pete Nicholl's voice sounded than at the Whitchurch gig back in August.  The track was very well received and to follow it up we were treated to 'The Darkest Hour' from the 'Ever' album.  I am not in any way criticising the musicians - the LA2 is not the best of venues acoustically at the best of times - but the sound was appalling. Both bass and drums were just far too heavy at times and a lot of the appeal of the track was lost.

It is always potentially difficult to introduce new songs into a set, especially when the majority of the fans have not yet had a chance to hear the album, so when Pete announced 'Erosion' was to be played next the audience reception was flat to put it mildly. Again, whatever merits this song might have on the CD failed to show through in London with the exception of the opening vocal section which Pete seemed to carry with conviction and confidence. The sound mix, hindered by the hall's acoustics, spoiled the instrumental parts of the track and the guitar and bass just came over as a wall of noise. If the song has any underlying melody you sure as hell could not hear it tonight and a lot of people seemed to choose this as a opportune moment to visit the bar.  When the track finished the audience response can at best be summed up as polite approval.

During the course of 'Erosion', Mike Holmes could be seen to change guitar and now Pete announced that the "Marquee Curse" had struck again ... albeit 15 years late, and that Mike had broken a guitar string. There were calls from the audience for 'Wiggle' but this was not forthcoming, instead we were treated to a piece of impromptu silliness, kicked off by Mike and joined by John Jowitt on bass. When Mike finally got his guitar back Pete tried to introduce the next song only to find the guitar was not in tune and another delay ensued in which we were treated to the 'Came Down Cha Cha', which went down a storm.

With the humour over for the time being, the band launched into 'Failsafe' from 'Subterranea' which seemed to be a very popular choice with the audience.  The band seemed to play with comensurate ease as both Mike and John ripped through the instrumental sections and were clearly having fun working together.  Martin Orford's keyboard work came over with a crisp clear edge and Pete's voice sounded really very good indeed.

I should also mention at this point that Lawrence, who has been IQ's lighting engineer for many many years now, was also putting in a great performance adding greatly to the show.

Next it was time to present the title track from the new CD 'The Seventh House', although again the audience initially seemed to lack enthusiasm at the prospect.  My initial impression of this track was certainly more favourable than the previous new number, it has some great keyboard sections and powerful lyrical content and this time around the audience were more supportive when it came to applause.

Then Pete left the stage briefly leaving Mike Holmes to prove, if any proof were needed, his credentials with 'State of Mine', a short track from 'Subterranea', before returning for 'Magic Roundabout' taken from 'The Wake'. I have lost count of the number of times I have heard this played over the years and I have to say the song was well performed and it was nice to note that the closing keyboard sounds seem to have been given a new lease of life.

By now the band seemed more settled, and the sound mix was also more balanced at last.  A bit of good natured heckling from the audience came during the break between songs, but Pete playfully brushed this aside and the band went into the opening section of 'Subterranea' playing the 'Overture', 'Provider' and 'Subterranea', during which Pete introduced the band members to the audience.

Next up came the last of the three new songs in the guise of 'Guiding Light' - I cannot help thinking it must have been Deep Purple in colour!  Of all the new material played this came across best of all, combining as it did a much heavier rock approach with the classic IQ sound mixed in and I look forward to hearing how this comes over on the album.

'Human Nature', a song written during Paul Menel's time as the band's singer, was delivered and received with great enthusiasm, and John and Mike were again to be seen having a laugh together.

Then came the real gem, the final number of the main set, 'The Enemy Smacks' from the 'Tales from the Lush Attic' album.  The track was carried off perfectly and has lost none of its appeal over the years.  Jowitt put in a thundering bass performance during the instrumental breaks while Pete was off stage, and the costume changes continued to add weight to the harrowing tale.  Despite the fact that venues have to take more care with strobe lighting these days than was observed back in the early eighties when this song was first performed, an agrressive light show did wonders and enchanced the entire piece ... the resulting applause nearly lifted the roof.

The first of two encores kicked off with the perennial favourite, 'Awake and Nervous'.  The band were obviously free of any cares by this stage in the show and they really played up during this one - even taking an unexpected break during the track where nothing was played at all for some twenty seconds or so until Paul Cook's drums relaunced matters with renewed vigour.  The final track of the evening was 'The Wake' which came across free and easy and put a great finish on the evening.

Over the years IQ have shown an uncanny ability to pull together a loyal band of followers who stick by the band and are always ready to come out to see them when they put on one of their regretably infrequent shows.  Tonight was certainly very enjoyable, but it was by no means the best I have seen them, although they remain a band I would willingly go and see again when the chance presents itself.  I should stress that without exception the band turned in excellent performances, but the sound problems in the early part of the set did not help matters.  It is also unfortunate that the new songs, with the exception of 'Guiding Light', did not come over as well as I would have expected, but I am sure that this is mainly due to unfamiliarity more than anything else...

Simon - 9th December 2000

Venue: Mean Fiddler, London             Date: 15th December, 2001

Set List:  Awake and Nervous / The Thousand Days / The Magic Roundabout / Erosion / State Of Mine / Leap Of Faith / Came Down / The Seventh House / The Narrow Margin (excerpt) / Human Nature / Capricorn / Just Changing Hands / Guiding Light / Headlong / The Last Human Gateway.   Encores: Subterrannea / Jet / Crazy Horses / The Wake.

For this gig, one of a series celebrating their 20th anniversary, IQ had managed to draw a sizable crowd to The Mean Fiddler. Most appeared to be in the venue when I arrived, late on through the opening support act The Lens' set. Four strangely familiar figures, disguised in afro wigs and loud 70's clothing, were playing tracks that seemed eerily similar to early IQ without the vocals.  Strange that… Anyway this went down well, and there was only a short break before the lights dimmed for the start of the IQ set.

The night started off with the projection of images and humorous scenes from the band's career over the last 20 years onto the backdrop behind the stage. As this drew to an end, keyboardist Martin Orford dashed on to the stage to huge cheers and started up the keyboard riff that opens 'Awake and Nervous'.  The crowd soon had their hands in the air clapping to the music, before the rest of the band bounded on to the stage. Right from the start the band's enthusiasm for this gig was obvious, and this was certainly a good omen.

Peter Nicholls was wearing face paint as he did in the band's earlier days, and he led IQ through a rousing version of 'Awake…'. The sound was, thankfully, pretty good, and the lightshow throughout was excellent. Staying with their earlier material the band go through a heavied-up 'The Thousand Days', which after one verse and chorus segued into 'The Magic Roundabout'. I haven't heard either of these tracks live by the band before, and they certainly compared very favourably to the studio versions.

Next up is the first "newie", 'Erosion'. It says something for the continued quality of the band's material that all the tracks off 'The Seventh House' aired tonight get at least as big a cheer as the older, more established live favourites - none more so than the majestic title track, which is definitely my favourite from the album and was done full justice tonight.

Following the emotional climax of this lengthy song it's somewhat of a surprise to hear the opening notes of the lengthy track which concludes 'Subterranea', 'The Narrow Margin'. Surely not two epics back to back? Well 'not' as it happens, as the band merely play the first third of the song before rushing into the up-tempo crowd pleaser 'Human Nature' (from the Paul Menel days) and the slower 'Capricorn', the latter featuring saxophonist Tony Wright (who also appears on the album).  To be honest I would actually have preferred to hear the whole of 'The Narrow Margin', with its wonderful instrumental section rather than these two tracks, but that was a small niggle and the crowd's reaction to the two aforementioned songs showed no sign of discontentment.

Next up is a rarity, 'Just Changing Hands', which the band hadn't apparently played for a long, long time - it's no classic, but it's nice to see the band digging out some more obscure tracks from their back catalogue.  The fine 'Guiding Light' followed, which allowed the band plenty of room for some superb instrumental playing, before Peter started to go through all the musicians who have been in IQ over the years - and introducing one of them as the evening's "special guest", ex-bassist Tim Esau.

As Tim took to the stage he got a massive cheer from the crowd, which probably wiped away some nerves - I don't think he'd played live for quite a while. The track chosen for this occasion was 'Headlong' (from 'The Wake') which apparently the original line-up had never played live before.  This is one of my favourite tracks on the album, and the band do it full justice here. Tim Esau may have played a bum note here or there, but it frankly didn't matter, and he seemed to get into the swing of things quickly, not hard when the rest of the band seemed to be on cloud nine for the entire night!

Final track before the encores is, perhaps predictably, the full version of the epic 'Last Human Gateway', which was (as is everything else tonight!) rapturously received by the crowd, before the band depart for a (very brief) moment before sweeping back on to kick off the encores with the punchy title track from 'Subterranea'.  Anyone who have seen IQ live before will know that the band like to throw in some, ahem, unusual cover versions, and tonight's no different - first up is a great version of Paul McCartney's 'Jet', before an amusing run through The Osmond's 'Crazy Horses', with plenty of interaction from both the crowd and various members of the IQ entourage, who took to the stage throughout the song. Finally, Tim Esau rejoined the band for final track of the evening, 'The Wake', before they finally took a well-deserved bow and left the stage to an ecstatic response.

This was an excellent gig; IQ played a blinder and the audience responded enthusiastically throughout, creating an excellent atmosphere for this landmark gig. Hopefully all future shows by the band (not just those celebrating anniversaries) will be as good as this!

Tom

Venue: The Colos-Saal, Aschaffenburg       Date: 16th February 2002

Set list: Awake and Nervous; The Thousand Days; The Magic Roundabout; The Wrong Side of Weird; State of Mine; Leap of Faith (end section); Came Down; Erosion; The Seventh House; The Narrow Margin (end section); Just Changing Hands; Guiding Light; The Last Human Gateway.
Encore: Subterranea; Crazy horses - Human nature - Headlong.

On the European leg of their 20th anniversary tour, IQ had scheduled just one gig in Germany - so I had to travel for several hours to see them again ... and I was not to be disappointed.  Last time they toured Germany Peter Nicholls had suffered from a cold, and Martin Orford had sung some vocals.  Despite that, it had been a great gig and promised a lot for tonight's show. When I got there, the Colos-Saal was already quite full and I am sure the gig was a sellout. I doubt many more people would have fitted into this medium-sized club.

IQ always put a lot of emphasis on visual aspects and, after the lights went out, we were treated to several pictures from the band's twenty-year history accompanied by music including some from the soundtrack of Harry Potter. This was quite unexpected and it went on for about five minutes.

Then the band took to the stage. Peter was in face paint as he had been during the band's early years, and they performed one of their oldest songs: 'Awake and Nervous'. In the background we could see short snippets, obviously taken from TV, that included sections from news readers, political events, Star Trek and Monty Python ... an impressive start, both musically and visually.

Two more older songs followed, this time from 'The Wake', namely 'The Thousand Days' and 'Magic Roundabout'. The sound was already excellent, and the audience responded particularly well to these oldies.  But the main emphasis of the night was to be on their latest album 'The Seventh House', and Peter announced the next song as one that had not been performed live very often, namely the opening track of that album 'The Wrong Side of Weird'.  I was surprised at what a great live track it turned out to be: Martin's keyboard scales dominated and were superbly complemented by Mike's guitar work.

The musical quality of the band can both be seen in the instrumental sections of their songs as well as in pure instrumentals. Peter left the stage for the band to perform 'State of Mine' from 'Subterranea' and the end section of 'Leap of Faith' from their comeback album 'Ever'. On that album this one goes straight into 'Came Down' and Peter got back in time to perform again on vocals.  Unfortunately, this was all we heard from 'Ever' tonight.

IQ had played Paris the night before, and apparently the French fans had sung Happy Birthday to IQ.  When Peter said that they been a better audience than Aschaffenburg we all tried to surpass them and sang the same congratulatory tune - twice. Twenty years of IQ, and thank god they are still going...

As mentioned the band were keen to play new material and by tonight most fans had heard the album 'The Seventh House'.  Last time IQ played songs from this album, it had not been released, and the crowd had remained relatively silent. But tonight it was different.  The material is strong and grows on you the more often you hear it. The short and magnificent 'Erosion' was followed by the title track, a modern classic.

Unfortunately, 'Subterranea' was underrepresented, but the DVD (supposed to be released in a few days) will make up for that. The end of the final epic 'The Narrow Margin' stands as a beautiful ballad in its own right and might even sound good as a single edit for the airwaves.

Contrast in time became apparent again when the band played the old 'Just Changing Hands' followed by the final track from 'The Seventh House', namely 'Guiding Light'.  In this song the sharp break in the middle of the song sounds too brusque on the CD, but here it was changed to a much smoother and more fluent transition - it should be released in this version one day, as it sounds even more impressive.

Then the high point of the show followed.  I had hoped for it, and there it was: the full version of 'The Last Human Gateway' in its twenty minute glory. I am out of words for that one, as it must be the very prog masterpiece, possibly of all time and I also wish for a re-recorded or live version of this as the sound on the album is a bit dated. In this new version the song gained even more appeal.  And the fans thought so, too. I was at the back of the club, and I could see all the hands go up as the crowd cheered.  Marvelous, as I had never seen a crowd as thrilled as tonight's before.

This was the end of the regular set, and the band returned after a few minutes with some beer (Martin) or a glass of water (Peter) in their hands.  The title track from 'Subterranea' was chosen to include the band introduction during a reggae section (!).  Then the cover version of the night followed, the Osmond's 'Crazy Horses'. The band sure had fun playing that one, and the fans, too. During the track a fan threw a blow-up heart on stage over which was strapped a bra.  The band were amused and when they came back for the next encore, 'Human Nature', John was wearing the bra and Peter the heart. Mike tried to steal it during the song, which proved that there is humour in the band.

Then we all thought it was over - but almost all were shouting for more, in particular for songs from 'The Wake'.  So IQ came back once more to play 'Headlong' from that album.  An interesting choice, as we had expected 'The Wake' or 'Widows Peak'.  But a quiet song was probably better suited for the end of the show. 'Headlong' had to be started twice, as Mike jokingly played a fun piece on the second keyboard to take the mickey out of Martin.

Tonight we all had lots of fun, and the band obviously enjoyed themselves. Peter's voice was magnificent, and all the musicians did an incredible job.  The set length of two and a half hours may sound quite long, but IQ have so many great tunes that they could have played twice as much and still left the fans shouting for more! I am not exaggerating when I say that this was one of the best gigs I have ever been to - and I have been to dozens. So let's hope we are in for at least another twenty years of IQ...

Oliver Traxel