Steve Hackett – ‘At the Edge of Light’ (2019)

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Steve Hackett has had the longest-running solo career of any member of Genesis. What’s more fascinating is that the guitar god has consistently produced high quality, progressive recordings.

The Night Siren, Hackett’s most recent release, made it on my Best of 2017 list. At the Edge of Light continues that winning streak with mind-bending melodic playing, ambitiously thoughtful music and lyrics and daringly progressive production.



“Fallen Walls and Pedestals” sets the mood right away with Hackett’s ethereal guitars. The song builds into an aggressive charge which propels at break-neck speed into the next song, “Beast in Our Time.” Like in the album before it, Steve Hackett’s vocals are strong and engaging. Rob Townsend’s tenor sax tangles with the melody, while the lyrics invite a contemporary look at a world on the brink of collapse and harkens back to World War II.

Hackett’s lyrics are vivid and direct, yet not heavy handed. Part of the credit goes to his wife; Jo Hackett assisted in the lyrics on several songs. Roger King’s orchestral arrangements also play a big part in setting the mood.

“Under the Eye of the Sun” starts with a 12-string guitar opening and builds to an anthemic, and optimistic rave-up. Hackett, the king of textures, employs a mixture of various electric-guitar sounds to move the song into the stratosphere. The drums and bass pulsate with the multi-tasked backing vocals. It’s apparent that the 18 months Steve Hackett spent recording At the Edge of Light were well spent.

“Underground Railroad” was a song Hackett mentioned in our recent interview as one he was particularly proud of. Assisted by Durga McBroom (of Pink Floyd fame) and her sister Lorelei, Hackett combines the story of Harriet Tubman’s efforts in the U.S. with a futuristic vision of freedom and redemption. The song’s feel is a contrast to the previous songs, with touches of dobro and didgeridoo enhancing its multicultural feel. The gospel flavor comes as a pleasant surprise. “Underground Railroad” quickly builds to a progressive center piece of At the Edge of Light, feeling perfectly at home.

“Those Golden Wings” is this project’s epic at more than 11 minutes. It seems to tie together many of the themes found on At the Edge of Light. It’s grand in progressive-rock fashion with Hackett’s best vocals of the album supported by a choral swell and a conventional rock backbeat. The instrumental break is more Yes-like than Genesis, with Hackett’s sparing electric guitars, and touches of six-string acoustic tightly woven in with a choir and Roger King’s orchestral back drop. It’s almost too much of a good thing.

On “Shadow and Flame,” Hackett brings in Middle Eastern and Indian elements with Sheema Mukherjee’s sitar playing featured prominently. Roger King’s arrangements for Christine Townsend’s violin and viola further cement the setting. Steve Hackett’s picked guitar and touches of E-bow make the musical fade out all the more enjoyable.

“Decent,” “Conflict” and “Peace,” the final three songs on At the Edge of Light, tie together the musical and lyrical concepts in a provocative and moving denouement. “Decent” is the march to battle, complete with driving snare drums, touches of searing electric guitars and a string arrangement which symbolizes the progress toward an inferno.

“Conflict” moves from the prior theme with a frenzy of keyboards, synthesizers, programing and strings. The percussion and guitars tangle for dominance before the song gives way to the piano dominance of “Peace.” Choral sounding multi-tracked guitars and Steve Hackett’s uplifting voice bring everything home, providing an optimistic end to this strong album.

Steve Hackett’s At the Edge of Light keeps his winning streak of fine releases going.


Preston Frazier