Aaron Copland
Fanfare for the Common Man
arr. ELP, orch. Robert Ames
Ian Anderson
Living in the Past
orch. Sam Gale
Mike Ratledge
Out-Bloody-Rageous – Part 1
orch. Sam Gale
Genesis
I Know What I Like (In Your Wardrobe)
orch. Sam Gale
Michael Dunford
Northern Lights
orch. Christian Balvig
Justin Hayward
Nights in White Satin
orch. Fiona Brice
Peter Hammill
Refugees
orch. Adam Dennis
Yes
And You and I
orch. Peter Riley
Mike Oldfield
Tubular Bells, Part One
excerpt; orch. Adam Dennis
Keith Emerson
Greg Lake
Karn Evil 9: First Impression, Part 2
orch. Chester Tribley/Bronte Tucker
Thijs van Leer
Sylvia
orch. Christian Balvig
Osibisa
Komfo
orch. Christian Balvig
Frank Zappa
Peaches en Regalia
orch. Christian Balvig
Greg Lake
Robert Fripp
Ian McDonald
Michael Giles
21st Century Schizoid Man – I Talk to the Wind – Court of the Crimson King
orch. Fiona Brice
Tony Banks
Steve Hackett
Entangled
orch. Fiona Brice
Kerry Minnear
Derek Shulman
Ray Shulman
On Reflection
orch. Sam Gale
Mike Heron
Maker of Islands
orch. Christian Balvig
Richard Wright
The Great Gig in the Sky
orch. Fiona Brice
Rick Davies
Roger Hodgson
Crime of the Century
orch. Christian Balvig
Modest Mussorgsky
Pictures at an Exhibition – The Great Gate of Kyiv
arr. Keith Emerson, orch. Robert Ames
Guy Garvey – vocals
Jane Weaver – vocals
Gruff Rhys – vocals
Carl Palmer – drums
Peter Hammill – vocals
Vanessa Haynes – vocals
Stuart Maconie – presenter
BBC Concert Orchestra
Robert Ames
Reviewed by: Chris Caspell
Reviewed: 18 July, 2026
Venue: Royal Albert Hall, London
Two Proms this week opened with the same piece, Emerson, Lake and Palmer’s arrangement of Copland’s Fanfare for the Common Man, but that’s where the similarity ended. It’s a welcome discovery for anyone who only knows Copland’s original: the BBC Concert Orchestra’s brass handled it superbly, with Carl Palmer, the only surviving member of ELP, on drums.
From there the evening ran through prog’s back catalogue at a cracking pace. Jethro Tull, Soft Machine and Genesis’s “I Know What I Like” (from the Peter Gabriel era, and the band’s only chart hit at a time when prog groups simply didn’t) all featured early on. Jane Weaver struggled with both Renaissance’s “Northern Lights” and the Moody Blues’ “Nights in White Satin” – some vocal or monitoring issue, by the sound of it – though the orchestral arrangements themselves were superb. She fared far better in duet with Vanessa Haynes on Yes’s “And You and I.”
The undoubted highlight was Peter Hammill’s “Refugees” (Van der Graaf Generator), sung by Hammill himself, a founder member of the band. His shriek is unmistakable, and the Hall was in raptures – not a dry eye in the house.
Tubular Bells (Part One) closed the first half, its ostinato piano relentless and well played, though truncating a 26-minute piece to five felt like a compromise the music doesn’t easily forgive.
After the interval came King Crimson via Guy Garvey, whose voice suits this material beautifully, alongside strong turns for Focus’s “Sylvia” (a genuinely Dutch outfit, and one of prog’s most interesting exports), Osibisa’s “Komfo” and Zappa’s “Peaches en Regalia.” Genesis’s “Entangled” and Gentle Giant’s “On Reflection” both got the full orchestral treatment the bands may once have imagined for them.
The night’s other standout was Vanessa Haynes on Pink Floyd’s “The Great Gig in the Sky” – a genuinely worthy successor to Clare Torry. The spoken-word intro and outro, originally Gerry O’Driscoll and Patricia “Puddie” Watts on the 1973 recording, came through far more audibly here than on record.
The closer, ELP’s “Pictures at an Exhibition – The Great Gate of Kyiv,” was the one disappointment: without Greg Lake’s vocals, it read as a diminished version of the record rather than a triumphant finish, though Palmer’s drumming was, as ever, magnificent.
This Prom was televised and will be broadcast on 24th July 2026, on BBC Four at 7pm UK Time.
Your reviewer can’t have been paying attention properly: And you and I was sung by The Staves not Weaver & Haynes. Also are there any vocals in Pictures at an Exhibition? I thought it was all instrumental.
Thank you for the correction. Proper attention was paid however as The Staves was not mentioned in the guide nor the Proms website an assumption incorrectly was made. As for Pictures at an Exhibition – the ELP version has Greg Lake vocals – you are possibly thinking of the original by Modest Mussorgsky. Have a listen here – its a great version: https://youtu.be/3WehOUctqBo?si=II9hrzLIdiamoSHp
what a great listen and watch! just a question – I had no problem with Jane Weaver on Northern Lights, but given that Annie Haslam seems to be still active (although just not touring anymore with Renaissance), couldn’t the powers that be have got her to sing what remains one of the most beautiful songs ever written and sung…? Maybe they did. My eyes were wet regardless. Then Karn Evil 9… then Focus… omg…
Totally agree Jane Weaver, unfortunately, wasn’t up to it for whatever reason. Vanessa Haynes was magnificent! what a voice!
Think the mixing on Great Gate of Kyiv was out as could hardly hear “the bells” at the end and Carl Palmer’s drumming (magnificent though it was) was too dominant.
very poor sound on mikes, and range for some singers was not reached! the wonderful full pelt orchestra swamped the tubular bells (we know what instruments were playing and didn’t need reminding!! and Refugees should have been spoken rather than sung as his voice was awful!
Have you ever listened to the original Tubular Bells. The instrument call out is an intrinsic part of the piece.
Also, I suggest (although maybe not) you listen to a bit of PH’s back catalogue then you may get it. I don’t think you’ll like it but you might get it.
I was at the concert and although the vocals left something to be desired at least with the broadcast they are audible over the orchestra, something missing on the night. I did feel that the vocalists were lacking confidence in their performances, maybe it was nerves? Anyway, for me And You and I was one of the most successful songs performed.