Porcupine Tree at Wembley Arena, 11 Nov 2022
Homecoming is a strong word, especially for someone who already lives in the London area. Yet the return of Porcupine Tree to Wembley Arena felt like precisely that. Since those, ‘final’ gigs at the Albert Hall back in 2010, front man Steven Wilson seemed content to work on a series of solo projects and collaborations, with no mention of the possibility of a PT return. To fans of all prior eras of the band, that really did appear to be that.
And yet, there we were, on the last night of an extensive tour across Europe and the Americas. The atmosphere was electric even if the audience was, at that point, seated, waiting for a moment that some believed would never happen. But then it did, as band members sauntered on to the stage to hit the opening, driving bars of In Absentia’s Blackest Eyes. I say ‘band members’ even if Porcupine Tree is still foremost a Steven Wilson project.
As it ended, the man spoke. Wilson has always been an unusual rock star, more bookish than blather. “You may stand,” he said, “but please do remain in your allocated spaces.” He promised a full three hours of music, right up to the curfew of eleven p.m., with all the devil-may-care of a librarian.
Nonetheless he, and the band, owned the stage. Gavin Harrison’s meticulously placed drum beats chimed with Richard Barbieri’s signature soundscapes, and all was well with the world: Colin Edwin no longer present, bass duties hand been picked up by Nate Navarro, whilst Randy McStine joined as additional guitarist and backing vocalist.
The five-some launched into a trio of songs from the new album (Closure/Continuation), Harridan, Of the New Day and Rats Return, before returning to Even Less from Stupid Dream. This back-and-forth between new and old continued across the two sets, a welcome relief from the “We’re now going to play our new album in its entirety” norm.
A shout out has to be given to the wide variety of backdrops — some animated pieces, some kaleidoscopic light shows, and some almost short films, compelling enough that the band almost seemed to be supporting the visuals, rather than the other way around. Of particular note were Last Chance to Evacuate Planet Earth (Before It Is Recycled), and the Fear Of A Blank Planet-derived dystopian dreamscapes backing the title track and Anaesthetize.
Overall, a powerful mix of soothing and poignant, heavy and histrionic: I Drive The Hearse was sandwiched after an energetic, ear-burning performance of the aforementioned, and before second set closer Sleep Together. A very short break (curfew, as we were repeatedly reminded) before a solo rendition of Collapse the Light Into Earth, made so moving due to the lights of five thousand mobile phones, that Wilson lost where he was.
Then a rousing Halo, before the gig closed with Trains, noted as one Porcupine Tree song that always seemed to rise above the rest. And it was done, and the lights were up, and hordes of scurrying fans found themselves once again wondering how they could ever explain one of rock music’s greatest conundrums, more a paradox than a contradiction: how can a band so popular be so little known?
“I used to wish I might see a hit single,” remarked Wilson, “but do you know, these days, I quite like it this way.” So do we, Steven, so do we.