Setlist

Set One
Walk On: Monk Morph Music Of The Chamber 131
Larks' Tongues In Aspic, Part I 528
Pictures of a City 523
The Court Of The Crimson King 424
Cirkus 451
Fracture 660
Interlude 133
The Letters 399
The Sailor's Tale 393
A Scarcity of Miracles 399
The Hell Hounds of Krim 214
The Talking Drum 220
Larks' Tongues In Aspic, Part II 475
Set Two
Devil Dogs Of Tessellation Row 186
Dawn Song 137
Radical Action II 136
Level Five 420
Epitaph 522
Radical Action (to Unseat The Hold Of Monkey Mind) 185
Meltdown 270
Easy Money 520
Red 402
Starless 883
Encore
Banshee Legs Bell Hassle 94
21st Century Schizoid Man 725
Sentrum Scene
Oslo, Norway
9/26/2016

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Setlist

Set One
Walk On: Monk Morph Music Of The Chamber 131
Larks' Tongues In Aspic, Part I 528
Pictures of a City 523
The Court Of The Crimson King 424
Cirkus 451
Fracture 660
Interlude 133
The Letters 399
The Sailor's Tale 393
A Scarcity of Miracles 399
The Hell Hounds of Krim 214
The Talking Drum 220
Larks' Tongues In Aspic, Part II 475
Set Two
Devil Dogs Of Tessellation Row 186
Dawn Song 137
Radical Action II 136
Level Five 420
Epitaph 522
Radical Action (to Unseat The Hold Of Monkey Mind) 185
Meltdown 270
Easy Money 520
Red 402
Starless 883
Encore
Banshee Legs Bell Hassle 94
21st Century Schizoid Man 725

Show Notes

Having left Copenhagen behind, the team have had the benefit of a couple of days off by the time they begin the first of three shows in Oslo, and boy, do they sound like they’ve missed being on stage. With a cold start, throwing both band and audience into the deep end of Crimworld, Pictures Of A City could well be the best rendition of the tour so far. LTIA Pt. 1 also shows some of the same fire with Pat Mastelotto’s shamanic percussives and triggered Jamie Muir samples, adding a surreal otherness to what is, on the face of it, a heavy rock band operating at the outer edges. This concert isn’t all about the big sweeping gestures, of course. There’s a lot of joy in the small details. Keep an ear out for Jakko’s howling guitar breaks between the big crunching riffage, and Tony Levin’s supple work underneath the flute interlude on Court, and a Fripp solo for the ages on Easy Money.    

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