Williams Center, Rutherford, NJ
Thursday 9th to Sunday 12th October 2025
Having returned to its original Columbus/Indigenous People’s Day weekend, ProgStock 2025 continues to grow in attendance. While the weather was chilly and, eventually, rainy outside, the mood inside was one of genuine warmth and camaraderie. This year the mantra was “on time” and, despite the inevitable gremlins, the incredible crew and staff led by Rob Rutz held it all together and overcame most technical issues in a timely manner. I know I said this about last year’s festival, but the 2025 edition may well have been the best yet. No small part of that is the posse I have come to enjoy spending time with year after year, so a special shout out to all of them (you know who you are!).
Continuing the tradition of making the weekend about more than just the music, artists Michael Bennet, Victoria Flowers and Annie Haslam (yes, that one) displayed and sold their works. Synth maestro Robeone performed on the plaza as weather permitted, pumpkin sculptor Deane Arnold and his team amazed with their carving skills, and author Kevin J. Anderson (Dune prequel series) chatted up anyone who came within earshot to discuss his books and music. Many other vendors and organizations contributed to the friendly atmosphere for the entire weekend, making ProgStock 2025 as magical as it sounds.
Thursday night began with Rush tribute band Fred Barchetta. Fronted by former Starship, vocalist Darby Gould, the band relied heavily on the early to mid-period catalogue, much to the delight of the audience. Numbers such as Anthem, Xanadu and Bastille Day were faithfully executed by a crack band. The Last Call Live pro-am session followed, with audience members performing prog and prog-adjacent tunes alongside the likes of the performers and crew. Most performers acquitted themselves beautifully, but the demanding nature of such tunes as Bat Out Of Hell and Hocus Pocus proved beyond the capabilities of some participants, although in their defence the on-stage performance was the first time the musicians were all in the same place at the same time.
Friday afternoon introduced us to Genesis photographer, author and industry veteran Armando Gallo. Recounting his days with the band and his history then and now, Gallo was entertaining and full of stories, egged on by host Larry Fast. The first musical performance of the day came courtesy of festival stalwarts Melanie Mau and Martin Schnella alongside percussionist/vocalist Mathias Ruck and bassist Andreas Bohm. From the opening chords of Yes cover And You And I to the closing Iron Maiden medley, this is a seasoned act that keeps the audience enthralled not just with clever covers but also with originals that can sit comfortably alongside the classics. Mau and Schnella is a band that shares their joy with the audience, who then give it back in a circle of positiveity.
Bill Hubauer’s (Neal Morse Band, Ten Point Ten) band We Came From Space was up next. A wonderful combination of prog complexity and pop hooks overlaid with four part harmonies, each member of the band was given ample opportunity to shine. Guitarist Dave Buzard in particular, with his steam punk costume and witty observations, was a focal point for much of the show with his razor sharp leads and vocals. Hubauer, Buzard and bassist Dave Hawk were school chums, and their lifelong connection came through on their performance of songs from their catalogue as well as a surprise cover of heartland rockers The Michael Stanley Band’s Let’s Get The Show On The Road. The latter was given a classic prog arrangement and was a highlight of the show.
Rachel Flowers continued the music, treating us to a large selection of songs from her yet to be recorded album, All That. One of the joys of ProgStock is hearing artists preview works in progress, and Flowers is a prime example. Accompanying herself on keyboard, she performed a number of tunes from her upcoming jazz vocal tribute. Her piano and vocal arrangements are simple, deft and classy, if not quite at the level of her touchstone, Ella Fitzgerald. Mixed with New Age style instrumentals, Flowers’ set was endearing and a sort of musical palate cleanser for Friday headliners IO Earth and the Orchestra Of Sound and Emotion.
Augmented by a four piece string section and three piece brass section, IO Earth put on a take no prisoners performance. Opening with an orchestral flourish before moving into bombastic prog rock mode, the band grabbed the audience’s attention. Never one of my favourites, I have to admit that IO Earth rose to the occasion with an emotional (if overwrought) show. Hayley Griffiths’ near-operatic vocal stylings are in contrast to Dave Cureton’s more rock-based approach, but the mix works well. If I have a complaint (and I usually do), it would be that there was not much variation in the string and horn arrangements. The performances were technically spectacular, but repetitive and bereft of nuance, which may have been the point.
Additionally, playing the video of the song being performed in synch with the band was distracting, particularly since many featured an earlier vocalist. Musically, the band was tight, loud and aggressive. Body And Soul showed some restraint, but eventually slipped into the same trap. The strings added a touch of beauty to Aura and The Rain, smoothing out the band’s rougher approach. Streets was the setting for some tour de force horn playing and Airborne was an intense slow burn, highlighting the lack of dynamics otherwise. While the show was probably the best I have seen IO Earth perform, I can’t help but think the performance was pretension masquerading as art.
Saturday morning began bright and early with a Q&A with Gentle Giant’s Derek Shulman, hosted again by synth wizard Larry Fast. Moving from his time as a performer to his days as a record executive, Shulman was the perfect example of an erudite English gentleman. Recounting stories from his book Giant Steps, the hour flew by so quickly that his industry days were barely touched upon. After a few questions from the audience, he graciously signed copies of his book and posed for photos.
The music picked up later that morning with the band Points North, comprised of the musicians from Fred Barchetta sans vocals. Heavy and melodic with a definite Rush edge, the instrumental trio displayed massive chops, everyone getting a chance to take the spotlight. Steve’s Morsels is a blistering ode to the iconic guitar hero, and Rites Of Passage featured the bass in a quieter, more thoughtful tune performed in 5/4 time. Turning Point was the mini epic full of twisty time signatures Points North provided a delightfully proggy and rocking roller coaster ride.
Again, I will admit that following my less than stellar review of the new album from Funhouse Mirrors, they were not exactly a band I was eager to see. Yet, as is often the case, some bands simply cannot translate their live energy to the recorded medium. Such is the case with Funhouse Mirrors, a very young group whose unbridled enthusiasm was evident throughout their show. Opening number Fictional Friend was equal parts They Might Be Giants and Talking Heads with trumpet thrown in for good measure. While the vocals remain problematic for me, the excitement of the band is infectious. Quirky Zappa-isms, absurd lyrics about guessing someone’s sexuality, and the courage to not fear the funk make for some interesting tunes. The songs from latest album Red Bird leaned wisely to the band’s proggier side, Flying Sawblade being most effective. The set closed with their 18 minute epic The Saints, probably their best song, before encoring with an as yet unreleased song, Shoes With Red Stripes.
The always entertaining and supremely talented Peter Jones took to the stage next, offering a set filled with phenomenal songs and comedic tales. Songs like The Snail, The Horse And The River and Blackbird were the emotional heart of a setlist that included a medley of songs from Cocoon as well as The Turning Of The World. And because he loves silly songs, we were treated to a solo piano version of Genesis’ Harold The Barrel. Next time, this man deserves to headline with his own band. Following were one of America’s best prog bands, Discipline.
Fronted by multi-instrumentalist Matthew Parmenter in full face makeup, the set builds slowly, each of the first three songs (Carmilla, Polly New, Breadcrumbs) being part of a self-described “horror story” trilogy. Reaching back to the early days and featuring songs from the new album, Discipline proved that it is the art of songwriting and performance that are central to the band, not flash and pyrotechnics. Constructed for maximum impact, songs like Crutches and Circuitry can be biting, ferocious and intellectual, often at the same time. Parmenter has lost none of the power of his voice, proving it with closing number Canto IV (Limbo). A tremendous set of epic music from a phenomenal band.
Flaming Row take the stage for the penultimate set of the night. Essentially Mau and Schnella with several guests (including Andrew Colyer and Natalie Brown of Circuline as well as Sally Minnear), they perform the entirety of the album The Pure Shine. A master class in vocal performance, it was one of the highlights of the weekend.
Capping off the night were Pattern-Seeking Animals. As if to make up for a set cut short by technical issues a few years back, the band gave their all. With Bill Hubauer replacing John Boegehold on keys, it was as if he had always been part of the band. Songwriter/instrumentalist Boegehold sat quietly in the audience, hopefully enjoying the spectacular performance from stalwarts Ted Leonard, Dave Meros and Jimmy Keegan. Leonard proves his guitar bona fides, casually tossing off beautiful lead lines while never missing a beat vocally. Opener Future Perfect World showed the band’s strengths, the sound fattened by second guitarist Brian Jensen. I Can’t Stay Here Anymore had more punch and energy than its studio counterpart, while No Burden Left To Carry and Somewhere North Of Nowhere set Jimmy Keegan free to pound away. Even Meros’ bass was more prominent live. In My Dying Days displays a greater sense of urgency as Leonard and Keegan move up front vocally, but my personal favourite is Lifeboat, a song filled with emotion and technical prowess in equal measure. Window To The World ended the show on a high note.
The second half of Derek Schulman’s Q&A kicked off Sunday morning, followed by a stellar set from Dave Bainbridge and Sally Minnear. Ethereal, mesmerizing and calming are each fitting adjectives, but they obscure the power that lies at the core of this performance. Minnear’s clear as a mountain stream vocals combine with her percussion skills to add depth and meaning to the soaring guitar and underrated keyboard work of Bainbridge. Whether covering Iona classics like Luke:The Calf or Gentle Giant’s Shadows On The Streets, the duo captivates. Fall Away from Bainbridge’s latest double album was the centerpiece, a piano showcase before Minnear added her angelic voice. If Heaven has a soundtrack, this is surely it.
In complete contrast is Mike Keneally and Beer For Dolphins. After a false start due to technical problems, the band launched into a set of complex and oddball tunes reminiscent of Zappa but with their own flavour and identity. Keneally’s guitar, piano and vocal talents were up front, but band members Bryan Beller (bass), Rick Musallam (guitar) and Joe Travers (drums) are not the sorts to be outdone. Travers’ drum solo on the Them Dolphins Are Smart suite is nothing short of jaw-dropping. Cows was all eccentricity and great fun. During another tech glitch, the band minus Keneally took the offramp into a Beller solo track until things had been resolved. Bainbridge and Minnear then joined the band for the finale.
An unusual addition to the festival was the Kate Hinote Trio. More folk than folk prog, the band is Kate on vocals, Matthew Parmenter on violin and David Johnson on acoustic guitar. The songs are simple, featuring Kate’s beautiful voice. Songs like Love Comes A Flower and Its My Toy are intimate, but beg the question of what a full arrangement would sound like. With simple strummed guitar and violin taking all the leads, the music was pleasant enough yet lacked dimension. The Last Day I Went Crazy benefited from Parmenter’s harmony vocal, and the cover of Eleanor Rigby suited the trio well. Even so, it was the cover of Peter Gabriel’s In Your Eyes that brought the house down, audience participation and all.
The Cyberium are an odd juxtaposition, and the dichotomy made them sound even heavier than usual. With guitarist Keith Semple handling vocal duties and new bassist Tom Heslin remaining off to the side, the band has a slightly altered sound. Songs from the new album were featured, with Endless Whispers showcasing the crunching rhythms bolstered by pop accessibility. Instrumental The Butterfly Effect II Ripples hit hard, and Long Lived The Queen, Are You There? and Don’t Blink show why Moore’s Law might just be the Cyberium’s finest album yet. The audience gets to join in on sing-along finale 9 Lives, wrapping up yet another successful appearance for the band at ProgStock.
The oddest moment of the weekend came courtesy of the band Serengazer. Comprised of Michael and Seren Sadler, Matter Dorsey, Jimmy Keegan and Paul Bielatowicz, there was no lack of talent on display. However, the music was neither familiar nor announced. Definitely on the prog metal spectrum, the songs are strong and wonderfully performed by a top notch band. Sadler’s voice is still in fine form. Somehow, though, it all seemed rather anonymous, like a placeholder. I’d like to hear and know more about Serengazer.
Nothing, however, can prepare you for the force of nature that is Steve Hogarth in the guise of H Natural in his first US appearance. He takes the dreaded backing tracks and somehow transforms them into the soundtrack of the coolest party you’ve been to in ages. Opening the first set with a string arrangement of Bowie’s Ashes To Ashes, the tone is set for an evening with your slightly inebriated eccentric uncle. Occasionally accompanying himself on the piano, Hogarth is one of the most expressive vocalists of our time. Whether performing tracks from his sadly overlooked solo album Ice Cream Genius or deconstructing Joe Jackson’s Its Different For Girls, his passion for what he sings is so palpable it can be nearly embarrassing to witness. In such an intimate performance, Marillion’s House feels totally new. After a moment to change his shirt and imbibe a bit more, H returns with a couple songs from Brave which completely match the intimate vibe. Runaway and The Hollow Man feel almost claustrophobic, but in the best way possible. As if you are witnessing someone bearing his soul. Forgotten lyrics and chords add to the experience and are instantly forgiven. A trio of covers including Here Comes The Flood, Like A Rolling Stone and Once In A Lifetime are completely remade in H’s image, and all the better for it. A plaintive Easter ends the set, but then he returns to encore with Afraid Of Sunlight and the Cars’ Drive. This is as transcendent a performance as I have ever seen.
In spite of the timing issues going off the rails on Sunday, ProgStock 2025 was one of the best run and attended performances in the festival’s nine year history. Once more, performers past and present convened in all manner of ways to make you feel as if you were at someone’s very cool prog house party. You can’t ask for more than that. How do you top that? We’re going to find out next year.
[Photos by John Giordano]
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