Review by Shawn Perry
Photos by Jon Fiala
Morsefest is an annual, two-day celebration of Neal Morse and his music. The event has taken place at the New Life Fellowship church in Cross Plains, just north of Nashville, since 2014. For 2020 and 2021, The Neal Morse Band kept the Morsefest ball rolling despite the restrictions imposed per lockdown measures. For 2022, however, it was time for something special, some super, something exotic, something… Transatlantic.
Out of all Morse’s associations, Transatlantic is the one with the most mythos around its origins and on-again, off-again livelihood. Drummer Mike Portnoy, Morse’s partner in crime on several projects, is arguably at his very best within the whole Transatlantic strata. Adding renowned guitarist, singer and Flower Kings founder Roine Stolt, along with Marillion bassist Pete Trewavas, to the mix only sweetens the deal.
To see the four come together in Cross Plains — two weeks after they began a short tour around the country to do a live test-run of 2021’s The Absolute Universe, their ambitious fifth and most recent studio release, and three days before they set sail for the high seas aboard Cruise to the Edge — was to witness some of the best 21st century progressive rock the world has to offer. The 700 or so fans inside the theater of a humble country church had come from miles around — and they knew exactly what they were in for. They relished every minute.
On Friday, Transatlantic touched on material from 2000’s SMPT:e and 2014’s Kaleidoscope before tackling all of 2009’s The Whirlwind for the first time live since 2010. Morsefest’s most ardent followers would also be on hand for Saturday night as well. VIPs even got to hang out with the band and grab some dinner. I was one of the few who hadn’t signed on for the weekend. By the end of this second performance, I couldn’t have been more disappointed about missing the first.
Saturday was all about The Absolute Universe. The epic album, which loosely addresses life in a post-pandemic world, was originally issued in two versions: The Breath Of Life and the longer Forevermore. Tonight, they would be combined into an Ultimate Edition. To add a little punch and drama to the proceedings, the band was accompanied by four background vocalists, a string quartet, a percussionist, and longtime friend and associate Ted Leonard on second guitar, keyboards, and vocals.
After a few words from New Life Fellowship’s Joey and Amy Pippin, the show began auspiciously enough with an inviting overture. Morse and Portnoy were elevated behind their respective instruments; Stolt and Trewavas stood at the center of the stage between them. All the other musicians occupied the back perimeter of the stage with lights flanking the backdrop. Images projected on one main screen, and on the left and right walls. Video cameras around the room captured every angle.
“Reaching For The Sky” and “Higher Than The Morning,” with Morse leading the way, are both upbeat, sweeping pieces that immediately pulled the whole place into a space-age, sci-fi experience. It was similar to when I saw Flying Colors, another band Morse and Portnoy are part of, in California years before. In both cases, the music felt bigger than the venue, though the intimacy certainly made you feel more in touch with the music. Tonight’s production was more visual and detailed. Every player on the stage had a part to play in bringing this music to life.
Mike Portnoy, a world-class drummer who could be anywhere and play with anyone, is in his element with Transatlantic. His energy and finesse behind his kit drives each turn, each phrase, each abrupt change in the soundscape. It’s a show in itself to watch him enthusiastically attack the measures, straddled on his throne, orchestrating every section, both feet shuffling a double-bass rhythm while his arms flail around the toms and splash cymbals, as he simultaneously leads crowd in waving, singing along, and clapping. Sometimes he stands as the song winds down, kicking his throne to the side, and never losing the beat. As with each member of Transatlantic, he also sang — backing, harmonies, and, at one point, delivered a biting lead vocal on “Looking For The Light.”
Together with Portnoy, Pete Trewavas adds an unmistakable undercurrent to the Transatlantic mothership. The sting of his bass is what paces “The Darkness In The Light,” a mischievous rocker that has Stolt stoking the flames with an articulate vocal and emotive guitar lines. Portnoy and Trewavas also locked in on “Owl Howl.” The rip-roaring interaction on this song was enough to confirm Transatlantic’s prog credentials. Trewavas took his turn on lead vocals for “Solitude.”
It was, unquestionably, Morse’s weekend. Sporting his Morsefest Transatlantic jersey, he sang a majority of the songs with either an acoustic in his hand or his fingers loose, darting at the ivories, playing some truly magnificent passages. By the time the ensemble rounded the final curve on “The Greatest Story Never Ends,” it was clear to everyone that Morsefest 2022 had exceeded everyone’s expectations.
After a medley of songs from SMPT:e and Bridge Across Forever, Morse gathered the band, supporting cast, and crew around to gives thanks to everyone who had helped produced Morsefest, reportedly the final one. If, in fact, this is the last we see of Morsefest or Transatlantic, you can be sure this weekend will go down as one to remember. Days later, reports are rolling in about Transatlantic’s performances on Cruise to the Edge. After a short break, they head to Europe for a handful of summer dates. And then? You never know what will happen next with these guys, given their allegiance to other bands. You know that whatever it is, it’s going to be powerful and monumental.
