"Turn up the keyboards." yelled someone during a break in North Star’s set. "You can tell it’s a prog show!", the man next to me replied. You most certainly could. A two-day feast for progressive rock fanatics of all kinds, The North East Art Rock Festival, kicked off Saturday, June 17, 2000, 11AM, in the Zoellner Auditorium at Lehigh University in Bethlehem, Pennsylvania.
Chad and Rob
Nearfest’s hosts, Rob LaDuca and Chad Hutchinson, greeted one thousand and two cheering progressive rock fans at the sold out festival. Five bands performed each day. In addition, two other bands, Priam and Echolyn, appeared at a pre-show concert the night before. Many vendors and publications were present, including Musea Records, Laser’s Edge, Cuneiform and publications such as Progression, Music News Network, Mellotron and Exposè magazines. Paul Whitehead, the artist who designed and drew Genesis’ “Foxtrot”, “Trespass” and “Nursery Cryme” albums along with the lettering, was showing the original "Foxtrot" album cover artwork and lettering, along with offering prints and rare vintage Genesis records and related items for sale. Paul re-worked the Nearfest logo. This was printed on T-shirts, which, along with programs and raffle tickets, were on sale at the entrance table. He also painted the Genesis Foxtrot Fox on a wine bottle, which was being raffled off Sunday evening.
	Northstar
Nearfest traditionally kicks off with a local band. In 2000 it was the recently regrouped North Star from Pennsylvania. North Star is very King Crimson-like in style, with their odd meters, tempos and rhythms. Their energetic lead singer swirled his arms and bowed in prayer to accent the music. All members displayed multi-instrumentalist talents. They switched between drums, keyboard, electric guitar, bass and the occasional trumpet, flute and vibes. The Italian band DFA made its’ first US appearance next. Each member was very spare in his moves and put all their energy into the music. DFAs music is heavy and moody with bass, echo and reverb. Somewhat like “Tarkus” era Emerson, Lake and Palmer. The aggressive “thump thump thump” of the bass made for a driving hour of heavy prog rock. Effects such as wind and swishing sounds from the keyboard synths were used to add textures. Their music was that of the drama and power of a thunderstorm. Some songs started fast, others gradually built to a climax. Leads alternated between the guitar and the keyboards. Joining them for their final song was the colorful Roman lead singer of IL Balleto Di Bronzo, Gianni Leone. He punctuated his singing and romancing of the microphone with large, expressive hand gestures, as he swept about the stage.
Glen McLaughlin of Iluvatar
The third band Saturday was America’s own Iluvatar, from Baltimore, Maryland. They have a strong, melodic, layered sound reminiscent of Yes and Genesis. One song strongly hinted of Yes’ “Wurm”. They keep the strong driving bass under the dominant keyboards, which were very high in the mix and clearly audible, as opposed to the two bands before them. The lead singers ability to mold his voice around a word and phrase is reminiscent of Jon Anderson. He accented each with small, slow moves, his arms rising as the music did. Real flute, and taped rain and thunder added textures to some of the pieces. They were powerful without bowling each other over. Iluvatar brought a lighter style of progressive rock that left the audience smiling.
Niklas Berg of Anekdoten
Sweden’s Anekdoten was next on the program. Their constant repetition of very similar long, dark chords and heavy reverb filled bass gave them a dark sound and feel, resembling early Rush or Led Zeppelin at times. This was not artsy prog rock, but a harder style, guitar based, a very loud wall of sound, like a strong ocean tide coming in on a moonless night. There were no solos. One of the textures used was a chorus voice synth. Occasional pulsing, softer passages alternated with the heavier, layered sound. String synth is a large part in Anekdoten’s dark sound.
Frank Wyatt Of Happy The Man	Stan Whitaker Of Happy The Man
The final band for Saturday was the headlining reunion performance of the classic US progressive rock band from Virginia, Happy The Man. Many long time fans of this 1970’s band were in attendance and gave Happy The Man a rousing, warm welcome. In addition to the usual keyboard, drums, guitar and bass, Happy The Man also added smoothly woven together textures of acoustic saxophone and flute. The bassist and guitarist played off against each other, much like a call and reply. Happy The Man’s music is dramatically symphonic in scope, with phrases of pianissimo followed by sudden crescendos up to double forte. Their new keyboardist comes from a classical background. The members of Happy The Man are more laid back and older than the other bands that appeared at the festival. This came out in their mature, smoother style of progressive rock, with its very wide range of solos, tone, definite themes, timbre, volume and power. Their music reflected influences ranging from Jon Anderson all the way to Jethro Tull’s grand, but not pompous, sound.
Lalo Huber of Nexus
If there were a contest for who sounds most like Emerson, Lake and Palmer, Sunday, June 18’s, 11AM opening band, Nexus, would certainly be the winner. This high-energy Argentinean band made their US premiere performance dressed in black. Their lead singer, a “Goddess Of Darkness” in her short black dress with long trumpet flair sleeves and black high heels, dances in much the same way as Stevie Nicks did in her "witch dance" with Fleetwood Mac. Nexus’ powerful sound is heavily reminiscent of Rush, Led Zeppelin, Dream Theater and ELP, with the added texture of gothic horror-movie style organ. Lots of Keith Emerson inspired keyboard leads. Nexus is a force in progressive rock to be reckoned with. Next up was the US avant-garde band Thinking Plague, from Colorado. They are a work of modern art, along the lines of art by Jackson Pollock or Picasso. Very abstract, with no point of reference or solid footing to be found on their musical canvas. A concert experience of Thinking Plague comes from within your own mind and thought. Thinking Plague’s music is atonal, off key, uneasy, dissonant, uncomfortable, and very interesting with odd sounds, odd meters and odd textures created by odd elements. The drummer was an especially accomplished musician. His part was one of constant movement and shifting of beats, never missing any of them. To add visual interest he used very unique items to hit his percussion with. A soft blue woven fabric belt with metal ends was tossed over the cymbals and pulled back over them. Barbie dolls, large plastic troll dolls with long brightly colored artificial hair, medium sized rubber spatulas and large metal whisks were used at times in place of drumsticks. There are no bands to compare Thinking Plague to, except, perhaps, some of King Crimson’s more eclectic work.
Gianni Leone of IL Balletto di Bronzo
The reunited early 1970’s band IL Balleto Di Bronzo from Rome, Italy was next. The room became suddenly very dark to the sound of chains hitting with heavy reverb. A shadow, the lead singer, crept slowly past the amps on the side of the stage. Wham! On go the pulsing lights and driving music. IL Balleto Di Bronzo dramatically took over the stage. Their passionate Italian keyboardist lead singer, Gianni Leone, dressed in a brilliant orange outfit, punctuated each song with sharp nods, sudden head movements, exaggerated arm keyboard playing movements and direct stares at the audience. Many pieces began and ended abruptly. Very spooky was the midi organ piece dedicated to modern day vampires. Another was a “fairy tale”, dedicated to the singer’s beloved Hammond organ, back home in his bedroom, in Rome. They also performed “Love In The Kitchen”, a humorous piece about fish heads, jelly jars, cooking and love. At the end of their set, the singer threw white sticks into the audience then pressed something raised on the hands of many in the front row. Lastly, he threw papers into the audience. They were about IL Balleto Di Bronzo, and the personal philosophy of Gianni Leone, founder, singer and keyboardist. He read that one out loud. “Nothing is more pathetic than a person without a sense of self criticism who believes himself to be PERFECT only because he does one percent of what should be done to be...barely acceptable.”
Par Lindh
Pär Lindh Project from Sweden followed IL Balleto Di Bronzo. Heavily influenced by the style and grandeur of Emerson, Lake And Palmer, PLP performed several pieces well known to the audience, such as “Crimson Shield” and “Jerusalem”, along with a number of new songs. Pär Lindh’s music paints images of JS Bach, of stained glass and rosette windows, and of the flying buttresses of Gothic cathedrals and castles reaching for the sky. The newer works performed were more guitar oriented with fewer keyboard parts, but still showed the dramatic symphonic style and organ that the band is known for. Magdelana Hagberg had a serious wrist sprain, severely limiting her electric violin playing but more than made up for that in her deftly handled vocals and fluid phrasing. Acoustic guitar samples were kicked off by Pär Lindh. New to the band are William and Joseph Kopecky, taking over the vacant electric guitar and bass spots.
Transatlantic
The closing band of Nearfest 2000 was Transatlantic. Transatlantic is an international supergroup in progressive rock. Roine Stolt, guitars, vocals and keyboards, is from the group, “The Flower Kings”. Neal Morse, vocals, keyboards, acoustic guitar, is from “Spock’s Beard”. Pete Trewavas, bass and vocals, is from “Fates Warning” and “Marillion”. Lastly, the energetic Mike Portnoy, drums, percussion and vocals, is from “Dream Theater”. And the little toddler girl with the enormous earplugs and pacifier by Mike’s side during the performance, along with the infant boy on Mike’s knee are from “Mike”. They are his kids. This was Transatlantic’s world premiere performance so it was a little rough at times. Transatlantic is more heavy metal than progressive, in the style of Dream Theater. Vocals were reminiscent of The Band and Steely Dan in sound and phrasing. They performed some original material, such as the rollicking “Return Of The Giant Hagweed”, along with The Beatles “Magical Mystery Tour”, "Strawberry Fields" and Genesis’ “Watcher In The Skies”. Transatlantic’s set was like a musical story, with fast and slow moving passages, crescendos and decrescendos. There were no keyboard pyrotechnics. Tempo changes were very smooth and handled well by the entire band. Mike’s drum kit was on the audience right and perpendicular to the very front of the stage, placing him on equal footing and in line with the other members of Transatlantic. And Nearfest 2000 closed with a roaring, standing ovation.

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Last Update: August 3, 2002