Setlist

Set One
Walk On: Monk Morph Music Of The Chamber 135
The Hell Hounds of Krim 217
Larks' Tongues In Aspic, Part I 492
Pictures of a City 519
Cirkus 455
Fracture 690
The Letters 348
Radical Action (to Unseat The Hold Of Monkey Mind) 185
Meltdown 275
Easy Money 512
Epitaph 526
Red 476
Devil Dogs Of Tessellation Row 185
Dawn Song 143
Radical Action II 137
Level Five 426
The Court Of The Crimson King 433
The ConstruKction of Light 397
Suitable Grounds For The Blues 287
VROOOM 316
Starless 895
Encore
Banshee Legs Bell Hassle 89
Heroes 272
21st Century Schizoid Man (Incomplete) 403
Liederhalle
Stuttgart, Germany
9/8/2016

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Setlist

Set One
Walk On: Monk Morph Music Of The Chamber 135
The Hell Hounds of Krim 217
Larks' Tongues In Aspic, Part I 492
Pictures of a City 519
Cirkus 455
Fracture 690
The Letters 348
Radical Action (to Unseat The Hold Of Monkey Mind) 185
Meltdown 275
Easy Money 512
Epitaph 526
Red 476
Devil Dogs Of Tessellation Row 185
Dawn Song 143
Radical Action II 137
Level Five 426
The Court Of The Crimson King 433
The ConstruKction of Light 397
Suitable Grounds For The Blues 287
VROOOM 316
Starless 895
Encore
Banshee Legs Bell Hassle 89
Heroes 272
21st Century Schizoid Man (Incomplete) 403

Show Notes

After leaving the cheering crowds of Aylesbury behind them, Crimson’s entourage decamped to Stuttgart. It was the first time KC had been in town since 9th July 2003. While The ConstruKction Of Light, Level Five, and Red were on that setlist, the 2016 renditions feature significant changes. TCOL, with the Trey Gunn-penned Bass Part Of Considerable Doom, hurtles forth as an instrumental and sounds as if it were always intended to be this way. Level Five, as has been previously observed, feels like it’s been waiting around for this very incarnation to breathe infernal life into it. In both cases, it’s Mel Collins who brings his distinctive musicality to the pieces. Mel is at the forefront of Suitable Grounds For The Blues. A typical off-kilter Crimson view of things, Suitable Grounds For The Blues takes a dainty tiptoe between sparkling Beatlesy fills, sloping sax lines and thunderous Ladies Of The Road-style rock ‘n’rolling. Between the tumbling drums and lurching beat, Fripp and Collins barrel along with smart, concise soloing containing a smidge of humour. 

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