Once the ghostly sprites disappear into the ether, there’s a hard, stark edge to the opening Turmoil In Paradise. Though it’s unlikely to have had any bearing on the music performed, one wonders if this aspect might not be a reaction to being billeted with a view of a rather bleak industrial park? The remorseless vista continues with Paradise Lost as a sequence of bass notes drop into the undertow and increases the sense of apprehension and unease. Fripp’s incandescent solo in the closing moments, while not exactly leading towards the light at the end of the tunnel, at least gives us hope that it might exist albeit brief and flickering.
Though the audience response has tended towards less than appreciative end of the satisfaction spectrum, there were some who were happy to hear what Fripp had to play. Vincent said “I liked the show very much even though many did not like Fripp and his solo. I think it is a matter of the audience educating itself and listening carefully to what Fripp is doing. I would see the show again.”