“If we are looking for a KC live (show); Chicago was exceptional” – Robert Fripp
“One of our best” – Tony Levin
King Crimson evolves, changes, morphs as relentlessly as the Soundscapes which open each concert. Since the 2016 tour of Europe, the band has become a double quartet line-up with Bill Rieflin’s return from sabbatical as keyboard player & Jeremy Stacey’s confirmation as a permanent member/third drummer. This allows for the inclusion of an ever more complex & compelling array of material, far more than can be contained in a single concert. With options for up to three keyboard players in the current line-up – Fripp & Stacey both have setups alongside their respective guitar/drum rigs - the majority of Lizard is performed live for the first time ever, likewise Fallen Angel from Red is making its first ever concert appearance/live recording, Cirkus envelops the listener in sound, the beautiful title track from Islands closes the first set, while staples from the 1980s line-up Indiscipline and Neurotica appear in very different arrangements. New piece, The Errors makes its recorded debut & current audience favourite Heroes appears in the encores at the end of Disc Two. Add to this list of concert newcomers & returnees, live staples of the recent tours such as Starless, Easy Money, a recording of Level Five described as the “best ever single performance” of the piece by King Crimson biographer Sid Smith & a storming ending provided by the evergreen 21st Century Schizoid Man & it’s easy to see why the band was so pleased with this gig & the audience went home happy.

King Crimson continues to re-invent & re-imagine both itself & its music; the kind of thing that once would have been called a “progressive” approach. It’s an approach that has benefited band members and listeners alike from January 1969 to the present – September 2017.
Written by Brian Sugrue
I attended this show with my 24 year old son, a KC fan since his early teens. The experience at the Chicago Theater was incredible, as the music was imaginative and thoughtful. The trio of drummers were tight and locked into their parts. The music was both gentle and fierce where, in turns, it was demanded. The fact that this show was released commercially is not surprising, as it was truly a remarkable show, and a significant representation of the power of KC!
Written by Marcin Karski
An immense CLASSIC added to the universe of Kcrimson catalogue!
This is so epic that it's actually difficult to digest in one take! Amazing new concert document from the King Crimson a'ka "8-headed beast"... During one show they tear through most significant creations of their turbulent career, spanning 48 years of band's history, supervised by the master craftsman Robert Fripp. The man who used to be mercurial and rather dictateurish about his approach to both music and his bandmates in the early or middle stages of Crimson's history - now seems to be as wise and wistful about the band's formula and abilities - as he's HAPPY to reimagine and represent the full cross-section of the bands varied musical catalogue. Had the set contained "Red", "Lament" and "Sleepless" alongside what is already a mammoth setlist - this also could be the ultimate greatest hits set for the band, perfect to get one's teeth into the real thing for anyone who even scarcely knows the band. Playing is fiery, wistful and imaginative, with band members taking a lot of chances in many places. Hard to pick up the stand out highlights, maybe beside one imminent ace - that is Mel Collins' playing the armoury of wind instruments. At the age of 71 this man must possibly have the lungs of steel, to play such an intense solo parts and improvisations as he does. Still, you can't throw anything at other members of the band. Even Jakkszyk's vocals - though strainy at moments - are stellar. I mean - not many people can sing John Wetton's parts actually not being Wetton himself. This is an absolute joy and a must for a music lovers of any taste. I'll have a lot of joy and pleasure in discovering all the intricacies and tiny sweet little musical raisins hidden in this epic musical spectacle. This simply CANNOT be not recommended! Post "many-spins-after" notes... Brilliant document, KCrimson-wise - it's an immense classic. The old stuff from the era between Greg Lake's departure and John Wetton's arrival is given a completely new, shining schnitt, a true lease of better second life. Being gone, dead and burried, almost crossed out from the public memory for mere four decades - "Cirkus", "The Lizard Suite" and "Islands" are now bristling the light of re-discovered exciting musical gems - intricative, full of nuances, changes and hunting with the power of imagination. The way to rework "Neurotica" and "Indiscipline" has also proved immensely fruitful (and it's been a well guarded secret until the release, known oly to the concert attendees). I mean, how can one out-tdo Adrian Belew style and swagger in both singing and playing those tunes? Most of the artists given this kind of mission would gracefully skip and withdraw from even trying. The 8-headed beast didn't. I really treasure the way Jakko sings in "Indiscipline" (with hins of Tony's help in the background) - it's indeed totally different, but has an undeniably genuine idea and charm and... it just works! Both cuts are thrilling in the emperor's new clothes and both are absolutely as exciting and punch-in-your-face assaults as they ever were in the 80's and 90's. The rest of the set (or at least a fair most of it) is by now well honed and owned by the super-oiled playing orchestra for couple of years, so there can be no less but an utter enjoyment to lend your ears, senses and imagination to hear it. Special mention goes to the, also freshly added, off-Red favourite - "Fallen Angel", played fiercely and proudly, which stands tall among the other 20+ choices of tunes filling this set of wonders that actually were 3 hours of magic in one place at one time. This is something to be behold and cherished for decades to come. Robert, Mel, Pat, Tony, Bill, Jakko, Jeremy and Gavin: THANK YOU VERY MUCH for doing this. I hope we can see you in Europe next year, just to get a chance to be a part of this wonderful musical spectacle again! With bows and regards, Martin
Written by Steven Nathan
Wow, That Caught Me Off Guard
What a great surprise! I did not know this was being released now as I was wandering around the website - imagine my surprise to see this treasure awaiting! Thanks for the early gift. I am starting to play the download, soaking it in and crossing dates off my calendar in anticipation of the forthcoming Fall tour. A truly great time to be a CrimHead.
Written by John Majer
Although I much prefer listening to recorded music than attending concerts, I decided to attend my first King Crimson concert in fear that not doing so would lead to a regret. I have listened to KC for decades and I’m quite taken by Islands, LTIA, and SaBB albums. These works provide me with a deep source of inspiration, both personally and professionally. It was quite a treat to hear LTIA (pt. I) as an opener…and to hear LTIA (pt. 2), especially in the first set, was well beyond my expectations. I purchased a front row seat (right in front of Mr. Harrison’s set-up) and in retrospect wish I was a few rows back to get a better view of the entire band. I had the intuition that I was in for a treat just before the show as Gavin gave me a friendly and affirming nod when he noticed I was inserting my custom earplugs. I could provide a lot of commentary but will keep this brief. First, it was my sense that LTIA pieces on the one hand lacked the sense of urgency I find in the studio versions. But on the other hand, it was also my sense that the way they were performed in Chicago (and recent live album) paid homage to these treasures in a mature and refined manner. Although these pieces IMHO require the violin, the guitar substitutions seemed to have added to the sense of reverence in these performances. These songs in particular are very meaningful to me, perhaps explaining why I found myself yelling “Thank you, Robert!” at the onset of the intermission…to which Mr. Fripp seemed to have reacted to by breaking out of his stoic demeanor and into a brief warm smile. I imagine playing both parts to LTIA in one show is quite the tall order. Nonetheless, during the intermission I (greedily) told myself I would die a happy man if Sailors’ Tale and Fracture were played in the second set. Second, the percussions were mind-blowing and well synchronized, and Mr. Harrison’s performance in particularly was beyond belief…I’ll leave it at that. Third, even though I have not used any intoxicants (except for tobacco) for nearly 30 years, I did experience a flashback that lasted about 10-15 seconds during Level 5. The musicianship of KC is exemplary to say the least and I’ll probably never fully grasp its genius. I never embraced KC’s albums outside the range of the Islands-SaBB era and didn’t feel the connection with their 80s works so I lost interest in later albums. But after this concert and listening to the live album I recently purchased, I’ll be certain to listen to some of them. Thank you for such a grand performance; much needed in these dark times.