Steve Hackett, “The Circus and the Nightwhale.”

This is probably obvious to anyone who’s a fan, or even anyone who’s aware of him, but there are two true things that The Circus and the Nightwhale reinforces: Steve Hackett is extremely good at guitar, and he’s extremely good at prog rock.

Hackett is a pioneer of prog rock as a founding member of Genesis, one of the first bands that heard the Beach Boys’ Pet Sounds and the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band and thought, “What if we did that… but more?”

Since going solo, he’s released, including Nightwhale, 30 albums. Tapping as a guitar playing style is most associated with Eddie Van Halen, who credits Hackett as its inventor and his inspiration. Hackett’s resume is vast. He has nothing left to prove. And yet, at 73, he’s done some of his best work, staying true to his style and his history while still sounding fresh.

The Circus and the Nightwhale is a concept album, which Hackett has said is partially autobiographical. To be honest, after quite a few listens, I didn’t get that aspect. I may not be the most qualified to judge, not being the biggest fan of concept albums as a concept, but it didn’t click. I do believe it’s there, though, because the album taken as one entity is remarkably smooth and consistent, with a clear and smooth progression in vibe from beginning to end. There are surprises and changes in tone so it doesn’t get boringly consistent, but it’s a great listening experience taken as a whole album.

Beyond just keeping it from getting predictable, those changes in tone go places you wouldn’t expect. For example, I didn’t expect the album to go as hard as it does. Single “Circo Inferno” especially brings it, with an intro that legitimately reminded me a little of Indian folk metal band Bloodywood before the vocals kick in and, rather than metal screaming in Hindi, it starts to sound like a heavier version of what you’d expect from a Hackett song. In the same vein, the beat and bass line of “Taking You Down” causes involuntary head-banging. Aside from the saxophone, it has an early Black Sabbath vibe.

It’s not all heavy. The sound varies a lot. “Taking You Down” is followed by “Found and Lost,” which opens with classical guitar before seamlessly transitioning to the sort of song a hardboiled detective in 1940s Los Angeles would brood to in the rain. That segues into “Enter the Ring,” which goes from eerie horror movie soundtrack to early ’70s psychedelia, Jethro-Tull-style flute solo and a series of guitar solos that make it very clear that he was one of Eddie Van Halen’s biggest influences. “Get Me Out,” meanwhile, could be a theme song from a “James Bond” film.

None of those factors should make for cohesive songs, let alone a cohesive album, but Hackett does it. That progression feels completely natural and logical. I don’t understand how, even after listening with the intent to figure it out. It’s probably why I’m not the one with a 50-year career making music.

There are also some more traditional prog rock songs. “Wherever You Are” stands out as the best example of Steve Hackett adhering to the conventions, such as they are in a genre defined by experimentation. It gets weird but in an expected way, which is just as good as weird in an unexpected way, but for different reasons.

I accept. that not everyone likes prog rock. It can be divisive. If you hate it, you probably won’t like The Circus and the Nightwhale and, most likely, aren’t reading this. But fans will most definitely enjoy it and, given Hackett’s pedigree, don’t need my recommendation to check it out. Listen to this album from beginning to end; no shuffling or breaks. If you like this, try out some other stuff. It’s more than worth 45 or so minutes of your time.

Follow publisher Daniel J. Willis at @bayareadata.press on BlueSky.