Hailing from the ‘70s but not performed until the ‘80s, the track has rarely been off the setlist. 2014 saw it given a slightly martial-sounding makeover. This time around the scythe-like swing of the original has been restored. Not only that, Jeremy Stacey’s keyboard additions add extra vim and vigour, spicing up the reliable structure with a side-order of freshly sliced chaos.
Hailing from the ‘70s but not performed until the ‘80s, the track has rarely been off the setlist. 2014 saw it given a slightly martial-sounding makeover. This time around the scythe-like swing of the original has been restored. Not only that, Jeremy Stacey’s keyboard additions add extra vim and vigour, spicing up the reliable structure with a side...
Precisión técnica y emotividad en un solo concierto. Escuchar Ephitap, Starless y 21st Century Schizoid Man man en una sola noche, es espectacular.
Escuchar tres baterías, es de lo mejor, "Red" con su sonido potente, potentes todas las canciones.
No se puede pedir más, Starless sonó impecable y se agradece demasiado escuchar solo la música sin la interrupción de las pantallas de las cámaras de los teléfonos.
Noche mágica en la Ciudad de México, de los mejores conciertos de rock pr...
Precisión técnica y emotividad en un solo concierto. Escuchar Ephitap, Starless y 21st Century Schizoid Man man en una sola noche, es espectacular.
Escuchar tres baterías, es de lo mejor, "Red" con su sonido potente, potentes todas las canciones.
No se puede pedir más, Starless sonó impecable y se agradece demasiado escuchar solo la música sin la interrupción de las pantallas de las cámaras de los teléfonos.
Noche mágica en la Ciudad de México, de los mejores conciertos de rock progresivo en mucho tiempo, no se puede pedir más.
Written by MIGUEL ANGEL SOLER HERNANDEZ
Mexico City is your home.
That last night in Mexico City was amazing!!! A wonderful setlist. Congratulations on 50 years of exquisite music.
Written by Pablo Cordero
The best night of the Mexican stand
King Crimson, 30 August, Mexico City
When Robert started playing the moto perpetuo of “Fracture”, there was something remorseless, fearless and inevitable about the way he just went for it. I have heard him play many times, but I had never heard him play quite like this before. An exceptional moment in an extraordinary evening of music. But no the only one. There is much to be said for the skyward ascencion of "Breathless", the seamless transition from a vicious "LTIA IV" into "Neurotica"...
King Crimson, 30 August, Mexico City
When Robert started playing the moto perpetuo of “Fracture”, there was something remorseless, fearless and inevitable about the way he just went for it. I have heard him play many times, but I had never heard him play quite like this before. An exceptional moment in an extraordinary evening of music. But no the only one. There is much to be said for the skyward ascencion of "Breathless", the seamless transition from a vicious "LTIA IV" into "Neurotica", the cosmic improvisation at the heart of "Easy Money", and an impressive, loose-limbed "21CSM" wherein Gavin paid a subtle, perhaps unwitting, homage to Ian Wallace's VCS3-enhanced drum solos of yore.
Intro
(Walk On)
First Set
Hell Hounds of Krim
Pictures of a City
Suitable Grounds for the Blues
Radical Action III
Islands
Drumzilla
Fracture
Epitaph
Larks' Tongues in Aspic (Part IV)
Neurotica
Breathless
(Robert Fripp song)
Second Set
Devil Dogs of Tessellation Row
Easy Money
Red
Indiscipline
The Court of the Crimson King
Starless
Encore:
21st Century Schizoid Man
