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Collective moments
:: Posted by Bakullama on November 22, 2015

About that otherwordly or timebending or collective feeling... In 2000 at the House of blues in Los Angeles it was very apparent. But I personally sensed it most during the performance of "Deception of the Thrush".... For what itís worth.

Collective moments
:: Posted by Bakullama on November 22, 2015

About that otherwordly or timebending or collective feeling... In 2000 at the House of blues in Los Angeles it was very apparent. But I personally sensed it most during the performance of "Deception of the Thrush".... For what itís worth.

:: Posted by emmapeelfanclub on November 22, 2015

Oh yes... definitely experienced that otherworldly sensation when I caught the Crims in Salford. The first show there were moments where that happened but the second one was a full on assault of the like Iíve never experienced before. Early on in the show, the Crims entered another zone where time seemed to stand still. I sat transfixed in my seat feeling I was in another dimension that entranced and beguiled me. I recall "Easy Money" being the most powerful moment. Most of the time I recall being open mouthed in awe feeling the power of the Crimson King pulsing through my entire body and being. I was not alone - everyone sat around me were "in the zone" - throughout the entire show there were many moments where you could had heard a pin drop since the audience were so into what was happening there were often complete silences at the end of each song before weíd burst into applause. Iíd never experienced anything like that before - a real tension in the air. When the show ended, as we returned to the world outside for myself, it felt a bit like a rude awakening yet I felt... odd and continued to feel that way for the next 24 hours. Everybody was raving about what had just happened. I knew Iíd witnessed a superb gig by King Crimson but I also knew this had been more than just a gig - it was an experience that enveloped and embrace my entire being and one for which I feel privileged to have been a part of.

:: Posted by emory0 on November 22, 2015

Wow. Iím really digging that "something" happened in Toronto.

One thing I have found, in both the best musical performances as well as when I was involved in the black churches in Brooklyn, is that when "it" happens, pretty much everyone knows it and feels it. Call it "God", perhaps, or some ancient collective tribal response (say to hunt a woolly mammoth?), but it is somehow objectively "there", a shared subjective experience. This is why King Crimson still matters.

Toronto 2nd show
:: Posted by gregjames on November 22, 2015

Something happened at the Friday night show - unlike anything I have ever experienced in my life. It was during "Epitaph". I am assuming that most of us have had that experience listening to music where the hair stands up on the back of your neck and tingles, which in Robertís words: registers "Wow - out of this world" in a direct, visceral way. Well, Epitaph got rolling on Friday night and that feeling came on strong, behind my right ear lobe and the whole back of my head was tingling. But the feeling grew stronger and stronger and went thru my whole body until my thighs and legs down to my ankles felt as if a strong electric current was going thru them. By the end of the piece, I was utterly slack jawed and teary eyed. So unexpected. Never in my life have I experienced anything like it. I will never forget it.

Oh, and much of the rest of the evening was incredible as well. Preshow soundscape - gosh. Could that have been better or more appropriate? Particularly memorable for me was the reKconstrcution of Red, where the drummers made it something brand new. Wow. Melís brilliant contributions to Vrooom and Larkís I - words cannot express. So grateful that I was able to bring my 14yo son who was utterly amazed by it. What a show. What a show.

The whole photo debate... A personal observation
:: Posted by michelforest on November 21, 2015

I have two small contributions to make to the debate surrounding the first Toronto show.

First, the bandís policy about photography is quite clearly stated before the show. To deliberately ignore it is selfish and disrespectful not only of the performers, but also of the rest of the audience who was sadly deprived of an additional encore because of one self-centered person. As usual, it only takes one moron to ruin it all for everybody. Sadly, as we all know, some people believe rules do not apply to them. Would that person do the same thing if the attended a classical music recital? I certainly hope not.

Some people have blamed Mr. Frippís decision to end the show early. This attitude comes out of the idea that the musicians are sellers and the audience members are customers. I find this attitude extremely rude toward musicians. True, we pay money, lots of it (the very high price of tickets is the reason I passed on the King Crimson shows in Montreal) to attend concerts. However, this is not a commercial transaction where the customer is always right. When I attend a concert, I am conscious that I am listening and watching the result of countless hours of study, practice, and sacrifice. I teach French at the college level, and several of my students each year are aspiring musicians. I can only imagine what it takes to reach the level of musicianship that the members of King Crimson (and many others) reach. I never, for a moment, think that a professional musician is a servant at my service and that I am entitled to anything I want. In the end, itís called respect. Iíve been to a few shows where I did not feel respect on the part of the musicians. I crossed these performers off my list of artists I want to support. But when an artist tries his best and is serious about what he does, it should be obvious that the audience should respect him in turn.

Satori in Toronto: The King Crimson Experience
:: Posted by staticghost on November 21, 2015

King Crimson is not a band. King Crimson is the sine qua non of the auspicious, of the true, of the good, and of the beautiful.

Last night, I experienced nothing short of an existential epiphany. I witnessed what I thought was not humanly possible. I saw mere mortals speak the unspeakable through music.

I felt the totality of Being compressed into a series of unmanageable moments. The immediacy of those moments were sanctified by the digital Sabbath imposed by the band, where all documentation and technological communication ceased, and where the crowd traversed the bardo space of cellular purgatory into the direct felt-presence of the King Crimson experience. 

In the moment, I touched the endless knot, the totality symbol of alchemical salvation, the eschatological object at the end of history. I saw the folding of space and time into an endless fractal. I saw the unfolding of my lifeís narrative and the choices that lead to satori.

I learned that mediocrity is an anomic response to the absurdity of this strange, indifferent, and entropic universe. I learned that life without discipline is the gravest abomination and a submission to the nihilist demiurge that a godless society has manifested.

King Crimson is not religion, but a gnostic force in the kingdom of choice and the wilderness of indecision. The flow of change and becoming that King Crimson has endured throughout the decades is symbolic of the vicissitudes we as humans must all endure with discipline, compassion, and joy. I can not explicate further without diminishing, trivializing, and simplifying the legacy of King Crimson. I simply do not have the vocabulary to speak the unspeakable. In fact, no man does. However, as a result of last nightís existential epiphany, I can wholly accept in Socratic spirit that I truly know nothing.

I am grateful to return to this grand realization, to shed ego, and give my greatest respect to the legendary artists who persevered against all odds to return in pure form; to give us unfettered dedication and discipline, and to deliver us from the evils of this material realm through the King Crimson experience.

I am eternally indebted for the entire bandís discipline and respect in performing the greatest musical piece I have ever witnessed. The only way I could further express my gratitude is by demonstrating the same level of rigour and integrity in all that I do from this point on; to live to the point of tears and never settle for mediocrity, to accept the vicissitudes of change and becoming, and embrace starless and bible black without fear.

Thank you King Crimson for changing my life last night.

Everyone, I love you!

Kind Regards,



What a difference a day makes
:: Posted by grudolf on November 21, 2015

A quick note about last night: Thank you to the band for coming out to play and engage in a spirit of goodwill, and kudos to security for a job well done.

As mentioned below, the beginning of the set felt somewhat tentative (in particular, to these ears Radical Action > Meltdown sounded stronger on Thursday), likely due to the anxiety from stories of the previous night making the rounds, combined with the increased security presence. However, by the halfway point (certainly by the end of Easy Money) things already felt very different, and Robert was ON. Level Five had teeth.

The gesture at the end of Robert snapping pictures of a happy crowd gives hope that Thursday nightís incident was an obstacle to overcome and not a sign of things to come. On to tonightís show with open ears (and no cellphone)..

This photograph-or-not debate is dragging on a bit.
:: Posted by throbber on November 21, 2015

My last comment.
I wonder if part of the problem is understanding the problem. I have limited experience of playing in public but I do know that an audience contributes to the event, by listening and responding. It makes a huge difference. I can imagine (Iíve never been in the situation) that to have the audience filming, recording, and photographing would change the atmosphere. Instead of contributing, they would be taking. And the whole event would degrade.
Musicians and audience are in it together. At the most basic level, the former give their time and the latter their money. If they both give rather than take, everyone will win.

:: Posted by emory0 on November 21, 2015

One thing I donít see mentioned too often is the hostility factor: Fripp (and some of the other band members) have made their feelings clearly known about photography. For someone to proceed anyway implies a certain amount of hostility, does it not? Why would someone want to play in a hostile environment? Moreover, if weíve been listening to Robert play guitar for several decades, why on earth would we want to create a situation where he might eventually choose not to play anymore?

Iíd bet some of these hostile photo-flashers conjure some sort of argument like, "Well I wonít kowtow to Frippís guitar-diva demands to not photograph", but isnít this just more hostility? And what does one get in the end? A photograph you can say you yourself took? Why not go flash the Nuge or some other skillful guitarist? Why would someone live like that?

Years ago at the Bottom Line here in NYC I saw a front-row FLASHer flash Fripp in mid-performance, and for a brief moment Robert clearly didnít understand what had happened: he looked at the empty guitar wondering what was wrong. Only after a second or so did he get up and leave. He was not "refusing to play": The music was simply gone. Like Keith maybe he actually needs certain conditions to do what he does, but even if we donít agree with that, just how hard is it to give up oneís "right" to photograph or record anyway? Itís not like you were going to feed your starving family with the proceeds from that photo.

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King Crimson Tour 2015
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