At 73 years of age, and with his trusty Fernandes single-cut slung waist high, London-born progressive rock legend Steve Hackett remains an innovator. For the uninitiated, Hackett came to prominence in 1971 with prog-meets-art rock juggernaut Genesis alongside Peter Gabriel (vocals), Tony Banks (organ/piano), Mike Rutherford (bass), and Phil Collins (drums). When Hackett entered the picture, Genesis had two albums under their belt in From Genesis to Revelation (1969) and Trespass (1970), which were both good but not great.
But everything changed when Hackett hopped aboard, as Genesis rattled off a string of classic records in Nursery Crime (1971), Foxtrot (1973), Selling England by the Pound (1973), and The Lamb Lies Down on Broadway, and two monster live records, Genesis Live (1973), and Seconds Out (1977) cementing the group as a progressive titan alongside Pink Floyd, Caravan, Emerson, Lake & Palmer, and Focus.
While his work with Genesis was transcendent, Hackett was never one to stagnate, leading to his departure from Genesis after Seconds Out in 1977 to on a solo career that has produced 28 iconic records, with the latest being The Circus and the Nightwhale (2024), which is as musically rich as his first solo record, Voyage of the Acolyte (1975).
Be it his blending of blues, pop, world, and classical music into his progressive mix or his status as a guitar icon who influenced prog rock and heavy metal via his two-handed tapping—which predated Eddie Van Halen—or his sweep picking, which influenced Queen’s Brian May, Rush’s Alex Lifeson, and Marillion’s Steve Rothery, Hackett’s shadow looms large.
Some players lie back and cash in on the past, but Steve Hackett refuses to rest. Instead of relying on his accomplishments with Genesis, Steve Hackett chose to create sonically lush albums. One listen to The Circus and the Nightwhale will tell you as much.
He might be an old dog, but his mindset remains modern, meaning Steve Hackett isn’t just following his creative muse but redefining it note by note. In support of The Circus and the Nightwhale, Steve Hackett beamed in with ClassicRockHistory.com to catch us up on his process, gear, meaningful moments, and more.
The Steve Hackett Interview
Tell us about your latest record, The Circus and the Nightwhale.
The story, which is a combination of autobiographical and a mythical journey, came to mind. I wanted to start in a world of gritty reality and then go on to a metaphorical place where life’s challenges take on a wider meaning.
What keeps you inspired to pick up the guitar, and where are you pulling from in terms of songwriting these days?
Originally, it was Hank Marvin’s guitar playing with The Shadows. He still inspires me. As for where I’m pulling from, I have many influences. They range from Bach to Jimi Hendrix. I have always been very intrigued by a wide frame of references.
What gear did you rely on most for this record?
I use Engl amps, which come out best for me. My main pedal is the combination of Sansamps that I sometimes use in series. It’s a combination of that plus the Fernandes guitars, which have the sustainer pick-up, which allows me to control feedback and enable the guitar to fly like a space rocket. I also enjoy playing Yairi acoustic guitars, which have a beautiful sound.
Which song from The Circus and the Nightwhale best represents the player you are today?
I’d have to say “People of the Smoke” from my latest album represents my playing, particularly because of the way I use the tapping technique plus fingerstyle. And “Dancing with the Moonlit Knight” from the Genesis album Selling England by the Pound features tapping, sweep picking, octave jumps, and soaring guitar with golden tone.
Do you have a favorite solo of yours? Whichever it is, how did you put it together?
My most famous solo is “Firth of Fifth” from Genesis’ Selling England by the Pound. It gives me the feeling of a bird flying over an ocean. The process was to take a melody and then give it a uniquely personal twist.
How do you view your importance on heavy metal playing, considering you’re mostly credited as a progressive rock guitarist?
Well, Eddie Van Halen, along with many others, sighted me as an influence, which I’m proud of. I’m have that my techniques have become part of the glossary of terms for shredders.
And how do you view guitar solos in the modern era? Many of the old guard feel they lack feeling and can be overblown. Do you agree?
I’m glad to hear any guitar these days. I’d rather have overblown guitar solo than the breakfast bass drum I’m now subjected to in many hotels [laughs]! I think taking risks is so important. You need to experiment to grow and reinvent what the guitar can do.
Of all your solo records, which do you enjoy the most from a guitar perspective, and why?
I feel particularly proud of my guitar on my new album, The Circus and the Nightwhale because the tracks feature a wide degree of variation and dynamic. I’m a more fluent player today, and I particularly paid attention to developing vibrato these last few years. I feel you can hear that on this album.
And of your work with Genesis, which albums mean the most to you?
My favorite two albums from my time in Genesis are Foxtrot and Selling England by the Pound. It was a time when Genesis was developing its sound in an extraordinary way, and there was not a weak track on either of them. I consider it to be Genesis’ golden period. It was at this time when John Lennon called Genesis “true sons of The Beatles.”
Do you regret not getting back on stage with Genesis before they finished?
No, I don’t regret that. My time with them was invaluable, and I continue to love the music and celebrate it in shows to this day, but I always feel the need to develop my solo work and commune with my own muse.
What are your short and long-term goals?
I love to play to audiences around the world, and I’m looking forward to returning to the United States in a few weeks’ time. I want to continue developing my playing and songwriting and work more with orchestras and players from around the world.
Pre-order now: This title will be released on February 16, 2024.
Steve Hackett: The ClassicRockHistory.com Interview article published on Classic RockHistory.com© 2024
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