In 2023 Tribe3 came out of nowhere to give us their remarkable eponymous debut album, which was reviewed very positively by TPA’s now sadly departed Jez Rowden, the first reviewer to champion this band (and for whom they still hold deep respect as evidenced by this album). In 2024 Tribe3 followed up that promising debut with stand-out performances at Prog for Peart Festival, where they received an immediate standing ovation, which was repeated at the subsequent HRH Prog Festival. So far, so good, but can Tribe3 build on that early success and go even further with their second album in 2025?
The short answer is: Definitely, YES!
For those unfamiliar previously with this relatively new band it may be helpful to give some background. They are a trio which hail from Bridgend in South Wales and whose members have accumulated considerable experience over the years. Bassist and keyboardist Steve Hughes was previously in Ezra, a South Wales band once graced with the eminent Rob Reed of Magenta and Cyan. Guitarist Chris Jones used to be in a rock band called Geneva which flirted with success, and drummer turned vocalist Jonathan Kinsey was previously in the short-lived but promising Matt Cohen project Ghost Community. In short, bags of experience, but it is probably fair to say these talented musicians had not found quite the right vehicle for their creativity, and indeed for some creating music had been more or less put into a state of stasis for some years. This changed in 2016 when Steve Hughes dusted off his instruments and formed the forerunner of Tribe3 called EleKtriK, an instrumental fusion band, along with Chris Jones and another drummer. When Jonathan Kinsey replaced that drummer, they realised that he could also sing (VERY well) so they developed into a vocal band. Remarkably Kinsey retrospectively added imaginative and emotional lyrics and vocal melodies to the already largely formulated instrumental pieces, and their high-quality debut album was born. It is interesting to see the effect of Kinsey’s complete involvement in the creative process behind this second release. What is immediately evident is the cool assurance and confidence which exudes every note and word of this album. It simply does not sound like a band’s second only release, and they kick the old cliché of the ‘difficult second album’ well into touch.
There is no central ‘concept’ to the whole album, but lyric writer Kinsey has shared that there is a ‘loose concept in the lyrics about communication, mostly broken or the lack of communication and understanding’. He has acknowledged that this loose theme was not really through conscious design, but it is strange how the mind works at time. Of course, having interesting lyrical themes and concepts is all well and good, but does it combine well with the music as a whole? The evidence of the rather epic and sweeping cinematic opener Voyager is most assuredly that Tribe3 have been successful in creating memorable pieces with resonating lyrics, perfectly weaved into the fine musical framework. Kinsey has already shown on their debut album that he has a great skill in writing about unusual subjects or looking at things from unexpected and affecting perspectives, which is borne out in Voyager. As the title suggests, this piece is about the late 70’s NASA Space probes that have reached so far (further than any man-made object has reached into deep space from the Solar System). Songs about space craft (especially Prog songs!) are not uncommon. However, the different take on this theme is that Kinsey is telling the story from the point of view of the probes, and muses on their growing sense of isolation as they sail through the stars ever further from home, and still communicating back home from such great distances. This fascinating conceit is conveyed upon a marvellous musical canvas, commencing with the spacey synth drone and cavernous drums, evoking a sense of the vastness of space in the opening section, which gains tempo as the ‘journey to the stars’ progresses. Three minutes into this beguiling piece reveals another key facet of this album which marks it as an exceptional album above many others – the clarity and emotional quality of Jonathan Kinsey’s voice, above Steve Hughes’ delicate piano:
I Journey on to the Edge of the Unknown, New Horizons I stake my claim on you’
Jonathan Kinsey has an incredible voice which cuts through to the heart, carried on inspiring music performed with great feel. Strange as it may seem for words which are essentially about the feelings of a space probe, the way this section is played and sang is deeply touching!
This is not some tired old school ‘Prog’ epic with sections seemingly randomly hammered together in the clichéd ‘never mind the quality feel the width’ approach taken by some bands – it sounds fresh and innovative, with the piece seamlessly and naturally evolving as the narrative open out. The subtle, echoing and cosmic instrumental The Depth and the Wonder interlude blossoms perfectly into a keyboard fanfare and echoing drums, immersing us in the immensity of space. Chris Jones’ distinctive guitar passages twists and turns us through the void and fades appropriately into the far distance, leaving us with just a simple resonant piano motif. Kinsey reprises the earlier vocal and lyrical theme to underline the ever increasing distance and loneliness of Voyager – it simply has to be regarded as one of THE epic progressive rock songs of the year, and what a way to start an album!
Falls Like Rain is relatively far more straightforward musically but rather more pointed and down to earth in theme. Kinsey has shared that it is: ‘about how we are controlled by those above us, whether it be government or employers. They are not really interested in communicating with us, but amassing power for themselves…’ Sadly all too resonant these days.
Tribe3 punch this message home with a wall of sound over which Jones’s guitar glides and swoops menacingly, until they drop in an ear-worm chorus. I suspect this will have many listeners like myself instantly echoing (with essential ‘oh, oh’s added obviously!):
This is a band who know how to write an accessible rock song which gets under the skin, but it also means something with which we can all identify (well, nearly all of us!)
Last Encore is about the final scene of Shakespeare’s ‘Romeo and Juliet’ which Kinsey characterises as: ‘A tragic breakdown in communication’. Tribe3 show yet again their intuition in moulding the music perfectly around the lyrical conceit. Last Encore is a piece suffused with romance and tragedy, rolling lushly along on a bed of Hughes’ keyboard washes and more delicate piano passage, embellished by Chris Jones’ more elaborate guitar flights. However, there is no overindulgence or ‘prog-wankery’ (probably not a word, but I bet you know what I mean!)… every part fits the whole to create an atmosphere and tell the story.
We now come to the part which has most emotional resonance for myself as reviewer and TPA as a group. Jez Rowden was my editor for The Progressive Aspect for nearly 10 years, and we became great friends. As mentioned earlier, Jez wrote Tribe3’s first review and championed the band, attending their first gigs, and the band credit him with helping make a breakthrough they did not quite expect. I met Steve Hughes at Prog for Peart in 2024 and he was very keen to meet me as representative of TPA. He wanted to convey his and the band’s heartfelt sympathies for our loss with Jez’s passing in March 2024. It was therefore deeply touching to find when offered to review this album that Tribe3 had dedicated a short instrumental intro piece, Requiem for a Friend, in memory of Jez. I know the family are very touched by this gesture, as are myself and my colleagues at TPA. Thanks Tribe3.
The Requiem segues into the intriguing title track Life Amongst Strangers. Kinsey describes this as his ‘curtain twitcher song’, and has explained that it is ‘about people watching and that everyone has a story to tell, but you can never know them… Communication possibly breaking down at community level, but also the desire to communicate.’ After an initial keyboard and drum driven opening fanfare Steve Hughes’ excellent bass playing kicks in before a strangely funky call and response section. The focus is definitely on disconnection as we wander through society as people seem increasingly wary and isolated. A jarring, discordant guitar section from Chris Jones evocatively amplifies that feeling of disconnection, followed by a more ethereal low key synth section exploring the same theme – Kinsey’s high register voice sounds so fragile and crystalline it could break at this point. The opening fanfare theme recapitulates at the end with Hughes and Jones extemporising imaginatively on keys and guitar.
The Front Line joins an honourable roster of progressive rock songs about war, and for obvious reasons currently this one feels all the more topical. War is basically the failure and absence of any meaningful communication. Kinsey has shared the song is ‘about any attritional war where there is a stalemate, the obvious example is World War One, but it was also influenced by the war in Ukraine.’ The Front Line commences with a strangely lighter tone with undulating synth and almost jazzy bass and guitars, but a cutting Jones guitar solo crashes us into a world of discordant chaos and darkness, followed by doom-filled drums and chants:
Although one of the less ambitious pieces musically on the album, it suits the stark lyrical theme.
The final song Evening Tide is cleverly multi-layered in meaning. Kinsey has explained that ostensibly it is ‘about the Earth and the Moon and how they are slowly drifting apart’. However, he adds that this is also a metaphor for relationships that drift apart… ‘not being able to talk to one another to resolve things and from one person’s point of view.’
Amidst these thematic and ambitious pieces Tribe3 do not lose sight of the need to write memorable and catchy melodies and hook-filled lines, and this piece is full of them. Evening Tide is also probably the most ‘proggy’ (whatever that means!?) piece with a stirring Yes-like finale adorned with gorgeous mellotrons, spiralling synth solos and emotional, soaring guitars. It is beautiful, but wisely on this album Tribe3 eschew mining most now rather stale ‘Prog’ tropes on this album – Life Amongst Strangers is imaginative and modern in a truly progressive approach.
Tribe3 have somehow surpassed their wonderful debut. Life Amongst Strangers is imbued with an authentic sense of emotion and insight into how the human mind works. Musically and lyrically, this is a remarkably realised collection of songs which stimulates the mind and touches the heart. Life Amongst Strangers is epic and cinematic, whilst also being tragically romantic and narratively fascinating. Indeed, it is all these things and more, but ultimately this album is always compelling. Life Amongst Strangers will justifiably be considered to be one of the best melodic progressive rock albums of this year…
… obviously – our Jez always knew a good thing!
TRACK LISTING:
01. Voyager (13:42)
i) The Lonely Traveller
ii) The Depth And The Wonder (Instrumental)
iii) Surfing The Maelstrom
iv) A Lonely Reprise
02. Falls Like Rain (7:15)
03. Last Encore (6:51)
04. Requiem For A Friend (for Jez Rowden) (1:53)
05. Life Amongst Strangers (12:50)
06. The Front Line (9:07)
07. Evening Tide (12:52)
Total Time – 64:34
MUSICIANS
Jon Kinsey – Vocals, Drums, Additional Keyboards
Chris Jones – Guitar
Steve ‘Yip’ Hughes – Bass, Keyboards, Bass Pedals
ADDITIONAL INFO
Record Label: Independent
Country of Origin: UK
Date of Release: 14th March 2025
DISCOGRAPHY
– Tribe3 (2023)
– Life Amongst Strangers (2025)
LINKS
Tribe3 – Website | Facebook (Group) | Bandcamp
