Steve Hackett Concert Review | Goodyear Theater | 11.4.2025

Rock and Roll Hall of Fame inductee Steve Hackett graced the Goodyear Theater in Akron with another outstanding performance. This two-year worldwide tour features not only his solo work in the first act, but selections of his former band, Genesis’ double album ‘The Lamb Lies Down on Broadway‘ for the second act.

This was Hackett’s third visit to the Goodyear Theater. In a previous visit in 2022, he performed the live album, ‘Seconds Out,’ and his 2023 show celebrated the 50th anniversary of Genesis’ smash record, ‘Foxtrot.’

On this tour, Hackett is accompanied by the same group of master musicians who supported him on both recent Northeast Ohio tour stops.

The Goodyear Theater, adored by Hackett, debuted in the 1920s, built by its namesake company. The 1500+ seat theater was shut down for a time and repurposed by The Elevation Group as part of the East End redevelopment project. The theater reopened its doors in 2016, and The Smashing Pumpkins ushered in a new era for the beautiful venue. Sadly, Elevation couldn’t compete with monster promoters like Live Nation and AEG, and was later relinquished to the management of Akron Civic Theatre, and is now primarily rented by promoters.

Hackett opened his show with “People of the Smoke,” the first track off of his 2024 solo release, ‘The Circus and the Nightwhale.’ While unfamiliar to many old-school Genesis fans in the audience, these relatively complex rock tunes include solid vocals and some impressive mini solos, which display Hackett’s shredding abilities.

Two more songs from the new record followed, “Circo Inferno” and “These Passing Clouds,” making a 1-2-3 start of all new songs. Some loyal Genesis fans who have followed the group since its inception were undoubtedly nervous

“OH, NO! Is Steve going to play new tunes ALL night?!”

Settle down. (And, read up on the show before you attend next time.) There’s an entire second act and an encore of NOTHING BUT GENESIS songs in the very near future. Count on it.

WATCH CLEVEROCK’S PRE-SHOW ZOOM CALL WITH STEVE HACKETT!

The stage lighting was incredibly choreographed. Lighting helped set the mood for various song sections, but (for the most part) had the right amount of subtlety so as not to detract from the show.

The absence of video screens to display background effects or display larger-than-life live shots of the musicians was a welcome change from most touring shows in this era. Goodyear Theater is intimate enough to make a spectacle of that nature completely unnecessary.

As for the sound quality? In a word: superb! It was evident that the team running sound was seasoned, and the excellent acoustics of the theater aided the (expensive) equipment.

Continuing with his recent catalog, Hackett showcased his “tapping” technique in “The Devil’s Cathedral” from his 2021 release, ‘Surrender of Silence.’

Several more solo tunes were played throughout the first act. Several more sweaty palms anxiously await old-school tunes presented in the building.

Clarification: The audience listened respectfully. It’s not a stretch to say that (virtually) everyone was digging the solo selections. It was a great display of Hackett’s career progression post-Genesis, proving that he is light-years beyond being “just a guy from a classic rock band.”

The conclusion of the first act took audiences back 50 years to his 1975 studio release, ‘Voyage of the Acolyte,’ with act-closing “Shadow of the Hierophant.” This fan-favorite once again has his tapping expertise on full display. It also allowed heavy, sustained bass pedals from Jonas Reingold, which caused the theater to shake, both literally and figuratively. What a send-off for the first act! It left fans beyond excited to see what was in store for the second portion of the evening.

Returning for the second act that heavily focused on the 1974 release, ‘The Lamb Lies Down on Broadway,’ (the last Genesis record to feature vocalist Peter Gabriel), the album’s title track served as an appropriate way to set the tone.

OUTSTANDING vocalist Nad Sylvan covers Gabriel’s original work by doing the former band leader’s voice justice (while still managing to put his own spin on the songs), but he masterfully visually recreated a mystique similar to Gabriel’s (again, in his own style.)

The songs that Hackett was a major driving force behind were all masterfully accurate and paid homage to the originals. Hackett was not only spot on while revisiting these songs, but he also made excellent additions to his playing. Age has only made him better, something that didn’t seem possible in the ‘70s.

There aren’t enough words to describe his accompanying musicians. Masterful? Pristine? Mesmerizing? Nah! Above and beyond all of those adjectives.

Readers of Rhythm magazine voted ‘Lamb…’ as having the fourth-best drumming in progressive rock history. (Not a shocker. None other than Phil Collins was behind the kit.) Tonight’s drummer, Nick D’Virgillo, followed the suit of the rest of the folks on stage, playing Collins’ role with ease. (Of note: D’Virgillo was one of two drummers chosen to take over for Collins on Genesis’ last studio album, ‘Calling All Stations’ in 1997.)

Other highlights from the second act included the set-closer “Supper’s ready,” a 23-minute complex tune divided into six sections, each with its unique time signature, instrumentation, and mood. Ivory tickler Roger King imitates Tony Banks’ original work so well that if audience members closed their eyes, they might be none the wiser.

Special highlights included stunning renditions of “The Chamber of 32 Doors” and “Carpet Crawlers,” which resonated deeply with long-time fans and newcomers alike.

Hackett’s show was a powerful celebration of the band’s pioneering spirit, masterfully delivered with passion, precision, and a sense of history. Fans left the venue with a renewed appreciation for the timeless music of Genesis.

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