Truman Capote once remarked that “Venice is like eating an entire box of chocolate liqueurs in one go.” Well, there’s plenty of light and dark sweets with some soft and hard centres to savour in this gig. Highlights included The Power To Believe II where we hear Fripp trying some different moves in the early soloing section. There’s also a great air of tension in Dangerous Curves with some unplanned wobbles during LTIA IV requiring some on-the-fly corrections. A superb show one has the impression of listening to a band walking a tightrope. Truly exciting stuff with Thrush bestowing a sublime sense of grace into the occasion.
While the team enjoyed themselves taking in the views on the lagoon in Venice during the day, one senses from Robert’s diary that he was less than impressed with the venue, observing that it was “a permanent tent that looked something like Denver International Airport but without the shopping.”
With the audience at 40% capacity making this the smallest turn out of the tour, Fripp notes they were “one of the most courteous & supportive. ‘Small but mighty’ to quote The Belewbeloid Tendency. The performance space was designed to make any possible connection between the audience & performers quite impossible - between the front of stage and front row was a large open space that an orchestra might comfortably occupy. And probably does from time to time. But tonight it was empty, and provided a vast moat of distance. We went on and played, because there wasn't much else we could do. And the show worked. The audience crossed the gap. I didn't see one flash.”
While the team enjoyed themselves taking in the views on the lagoon in Venice during the day, one senses from Robert’s diary that he was less than impressed with the venue, observing that it was “a permanent tent that looked something like Denver International Airport but without the shopping.”
With the audience at 40% capacity making this the smallest turn out of the tour, Fripp notes they were “one of the most courteous & supportive. ‘Small but mighty’ to quote The Belewbeloid Tendency. The performance space was designed to make any possible connection between the audience & performers quite impossible - between the front of stage and front row was a large open space that an orchestra might comfortably occupy. And probably does from time to time. But tonight it was empty, and provided a vast moat of distance. We went on and played, because there wasn't much else we could do. And the show worked. The audience crossed the gap. I didn't see one flash.”
