 |
| Steve Vai, Adrian Belew, Danny Carey, and Tony Levin of BEAT @ the San Jose Civic (Photo: Kevin Keating) |
SAN JOSE, CA - In a night that can only be described as a progressive rock fan's wet dream, the supergroup BEAT took the stage of the San Jose Civic, delivering a two-set, two-hour performance that was nothing short of extraordinary. Comprised of guitar virtuosos Adrian Belew and Steve Vai, bass legend Tony Levin, and Tool's rhythmic powerhouse Danny Carey, BEAT proved to be more than just a sum of its illustrious parts.
The evening was a carefully curated homage to a specific era of King Crimson's illustrious career: the period from 1981 to 1984. This timeframe saw the band undergo a significant renaissance, with Adrian Belew and Tony Levin joining forces with Robert Fripp and Bill Bruford to create a new sound that would redefine progressive rock for a new decade. BEAT's performance was designed to honor this pivotal period, with a particular focus on the trio of groundbreaking albums released during this time: Discipline (1981), Beat (1982), and Three of a Perfect Pair (1984).
 |
| Adrian Belew of BEAT @ the San Jose Civic (Photo: Kevin Keating) |
The setlist was a deep dive into these three albums, with BEAT reimagining and reinvigorating classics that Belew and Levin helped shape during their tenure with King Crimson. This performance wasn't merely a tribute, but a reinterpretation of these groundbreaking works through the lens of four masterclass musicians, each bringing their unique virtuosity to bear on this seminal material.
The night kicked off with the frenetic energy of "Neurotica" from Beat, setting the tone for a set that balanced intricate musicianship with raw power. Belew's distinctive vocals and unconventional guitar work shone throughout, particularly on "Heartbeat" and "Man With an Open Heart," while Vai's addition brought a new dimension to these Crimson classics. Vai's virtuosic guitar technique was on full display, seamlessly blending his signature legato phrasing and lightning-fast finger work with the angular, polyrhythmic structures of the King Crimson material. His use of extended techniques, such as two-handed tapping, whammy bar manipulations, and harmonics, added layers of texture and complexity to songs like "Frame by Frame" and "Elephant Talk."
 |
| Tony Levin of BEAT @ the San Jose Civic (Photo: Kevin Keating) |
In "Discipline," Vai's precise, crystalline tone provided a striking contrast to Belew's more experimental approach, creating a captivating dialogue between the two guitarists. During "Larks' Tongues in Aspic (Part III)," Vai unleashed a torrent of arpeggios and sweep picking, pushing the song's intensity to new heights while maintaining the composition's intricate structure. His ability to weave between rhythm and lead parts, often simultaneously, brought a fresh energy to these decades-old compositions, demonstrating why he's considered one of the most innovative guitarists of his generation.
After the experimental / avante garde track "Dig Me", Adrian half joked, "It's hard to imagine that was our first hit single." And later in the set, commented how BEAT has only played a total of three times as an ensemble -- it didn't show one bit.
 |
| Steve Vai & Danny Carey of BEAT @ the San Jose Civic (Photo: Kevin Keating) |
After a brief intermission, BEAT returned with "Waiting Man," demonstrating the band's capacity for creating atmospheric soundscapes led by an opening showing off Danny's work on a set of drums near the front of the stage. The interplay between Levin's distinctive bass lines and Belew's textural guitar work on "The Sheltering Sky" was nothing short of mesmerizing.
As the second set progressed, the energy ramped up. "Elephant Talk" was a crowd-pleaser, with Belew's vocal gymnastics and Levin's Chapman Stick wizardry on full display. The one-two punch of "Indiscipline" and "Red" near the end of the set was a testament to the band's ability to navigate both the quirky and the crushingly heavy aspects of the King Crimson catalog.
 |
| Tony Levin of BEAT @ the San Jose Civic (Photo: Kevin Keating) |
Throughout the night, the individual talents of each member shone brightly while never overshadowing the collective. Vai's addition to these King Crimson compositions brought a fresh perspective, his fluid playing style complementing Belew's more angular approach.
Tony Levin's bass and Chapman Stick work provided the backbone for the entire performance, his unmistakable tone anchoring even the most complex arrangements. On tracks like "Elephant Talk" and "Thela Hun Ginjeet," Levin's mastery of the Chapman Stick was on full display, his fingers dancing across the instrument to produce both thunderous bass lines and chiming melodies simultaneously. His use of funk-infused slap techniques on "Sleepless" drove the song with an irresistible groove, while his subtle, atmospheric playing on "The Sheltering Sky" demonstrated his versatility and musicality.
Levin's unique "Funk Fingers" technique, where drumsticks attached to his fingers are used to strike the strings, added percussive elements to songs like "Sartori in Tangier," blurring the line between rhythm and melody. His ability to seamlessly switch between bass guitar and Chapman Stick, showcased not only his technical prowess but also his deep understanding of each composition's needs.
 |
| Danny Carey of BEAT @ the San Jose Civic (Photo: Kevin Keating) |
Danny Carey, stepping into some very big shoes, proved more than capable of handling the demanding rhythms of the King Crimson repertoire. His powerful yet nuanced drumming added a new dimension to classics like "Frame by Frame" and "Three of a Perfect Pair." Carey's approach to Bill Bruford's original parts was both respectful and innovative, maintaining the intricate polyrhythms while infusing them with his own style.
On "Indiscipline," Carey's tribal-like tom work and precise cymbal accents captured the primal energy of the original while adding his own flair, culminating in a breathtaking drum solo that had the audience on their feet. His double bass drum technique brought a thunderous quality to "Larks' Tongues in Aspic (Part III)," driving the song forward with relentless intensity.
 |
| Steve Vai of BEAT @ the San Jose Civic (Photo: Kevin Keating) |
Perhaps most impressively, Carey navigated the complex time signatures of songs like "Discipline" and "Thela Hun Ginjeet" with ease, locking in tightly with Levin to create a rhythmic foundation that was both rock-solid and dynamically fluid. His use of electronic percussion and triggered samples, particularly on "Industry," added modern textures that complemented the forward-thinking nature of the original compositions.
BEAT's performance was more than just a nostalgia trip for King Crimson fans. It was a masterclass in progressive rock, delivered by four musicians at the top of their game. By focusing exclusively on the 1981-1984 King Crimson material, BEAT paid homage to a transformative period in the band's history while simultaneously staking their claim as formidable interpreters of this complex music.
 |
| Adrian Belew of BEAT @ the San Jose Civic (Photo: Kevin Keating) |
For fans of adventurous, technically proficient rock music, this concert is a must-see event. BEAT not only lived up to the high expectations set by their individual reputations but exceeded them, creating a unique experience that honored the innovative spirit of King Crimson's '80s renaissance while pointing towards exciting future possibilities.
If you missed the this tour opener, lucky for you, because you can catch them again when they return to San Jose on November 20th! Be sure to check out the rest of their tour schedule and don't miss this show if/when they come to your town if you're reading this outside of the Bay Area!
Thanks for reading and while you're at it, you can follow us as well here: Instagram | Facebook.
