Genesis’ entire “England,” “Spectral,” “Edge” slices comprise sumptuous Steve Hackett helping

Photos by Andy Argyrakis

There’s never been a period of Steve Hackett’s lengthy study of the guitar when he hasn’t been uncompromisingly prolific, but ever since he was inducted into the Rock and Roll Hall of Fame in 2010 with Genesis, his activity level surged. This year’s “At The Edge Of Light” marked his fourth entirely new project since then (not including several “Genesis Revisited” studio and concert collections), though a current cross-continental journey simultaneously acknowledges the 40th anniversary of his solo breakout “Spectral Mornings” and a complete performance of that very band’s pivotal recording “Selling England By The Pound.”

For the album’s epilogue, there was even what he called the “restored deleted scene” of “Déjà Vu,” plus bonus extended epics of Genesis’ “Dance On A Volcano” and “Los Endos” (merged with Steve Hackett’s “Myopia” and “Slogans”) that came as close as humanely possible to mirroring one of the art rock world’s most intriguing acts in its pre-commercial prime.

At the sold out Copernicus Center, the man who also logged time in GTR and Squackett brought along a British/Swedish blend of five backers, who began the sumptuous evening by cracking open his own catalogue. Whether it was current “Under The Eye Of The Sun” and “Beasts In Our Time” or his wordless edition of “Tigermoth” and “Clocks – The Angel Of Mons,” Hackett’s guitar pyrotechnics were ample and exceptional.

Following an intermission, it was time to prop open the museum doors for the entire Genesis opus “Selling England By The Pound,” but it was by no means dormant, despite being released in 1973. Rather it was swiftly regenerated when the audience shouted out the introduction to “Dancing With The Moonlit Knight,” then sat back to soak in a flashy presentation by Nad Sylvan (who would’ve surely made both original singer Peter Gabriel and his beat keeping predecessor Phil Collins proud).

The equally theatrical “I Know What I Like (In Your Wardrobe)” inserted the welcome surprise of a saxophone solo by multi-instrumentalist Rob Townsend, while the headliner especially excelled throughout the progressive pinnacles “Firth Of Fifth” and “The Cinema Show.” For the album’s epilogue, there was even what he called the “restored deleted scene” of “Déjà Vu,” plus bonus extended epics of Genesis’ “Dance On A Volcano” and “Los Endos” (merged with Hackett’s “Myopia” and “Slogans”) that came as close as humanely possible to mirroring one of the art rock world’s most intriguing acts in its pre-commercial prime.