Compression and brevity are the keys to those instances when JT catches my attention, but as often as not Anderson refuses to move from his signature amalgam of styles he likes and provides than is needed, or even effective, in the then-mistaken belief that length of composition and promiscuously convolutions of theme equals serious art. In that vein, I rather like the Martin Barre composed introduction to 'Minstrel in the Gallery', a tour de force of quirky transitions and sculpted dissonance that rises to actual art. I'm the first to admit that Jethro Tull had 'pretty parts', but I would reserve that classification for the those musical moments where a shining bit of ensemble work actually clicked and highlighted a fine band raging happily along with some problematic time signatures.

Setlist: Heavy Horses/Wind Up/Aqualung/With You There to Help Me/Back to the Family/Farm on the Freeway/Prosperous Pasture/Fruits of Frankenfield/Songs From the Wood/And the World Feeds Me/Living in the Past/Jack-in-the Green/The Witch’s Promise/Weathercock/Stick, Twist, Burn/Cheap Day Return/A New Day Yesterday/The Turnstile Gate/Locomotive Breath/ Requiem and Fugue.

With the show clocking at just over two hours (two sets plus intermission), Ian Anderson showed that he is still a master performer and musician, keeping the crowd on the edge of their seats with an appropriate mix of old Tull hits and a few new songs written for this show.

His trademark flute in hand, Anderson opened the show with “Heavy Horses” and “Wind Up” slowly bringing the audience into the fold, then getting them to their feet with a very heavy “Aqualung,” featuring guitarist Florian Opahle on Gibson Les Paul and a younger, shaggier Ian Anderson via video clips. The progressive style of music Jethro Tull (the band) has built its catalog on pair quite well the theatrics of Ian Anderson. Interacting with performers on the screen using pre-recorded tracks, Anderson and crew play and sing live and on point.

Jethro tull rock opera review