The Temple Of Prog 2 - Carlisle
The Temple Of Prog 2
Solstice, EBB, Spriggan Mist, Doris Brendel & Lee Dunham, Idiogram
The Brickyard, Carlisle 21st February 2026
Review- Mike Burgess
This was one of those monumental gigs where, in 10 years time say, everyone who was there, and probably a fair few who weren’t, will say ‘I was there!’…and has there ever been a greater collection of Prog Magazine Poll Top Ten acts appearing on the same stage on the same night?
This was a true red letter day, for the audience, the Bands and the Prog Community. Indeed, the day begins with The Mistress of Ceremonies, Kitty Biscuits, resplendent in Scarlet Temple robes, scroll in hand, exhorting and initiating the faithful on the path to ultimate Prog transcendence. And weren’t the audience ready and willing for this, being in turn playful, attentive and interactive, and encouraging all the acts to ever further heights of musical and performance nirvana. Yes, the 70s are over, but our minds can still be expanded! (Thanks kitty!)
Idiogram
The sacred Service began with Idiogram, a Scottish Instrumental Post-Prog band, with a Floydy sound updated for modern initiates.
They created Dreamy insistent rhythmic sophistication, rendering anthemic instrumental power to filigree delicate moments turning in a sixpence between states of Proggy bliss. The Keyboard sounds employed should make many a Progger happy.
They begin with spoken sound samples, on the track ‘ Hyperaccumulator’, slowly building to a gentle assertive momentum building, making use of their collective skill to build to a most satisfying climax.
Song 2, ‘Twilight Sleep’, begins with chiming guitar, and soft bass, setting a calm tension before the drum entry, sounding like a Modern fancy remix of a Floyd soundscape. The song however ebbs and flows with tasteful bass playing, insistent guitar and time signatures galore, ending in a gentle denouement.
Next up, Bevel starts with twittering birdsong embroidered with delicate guitar. A flowing bass line allows for stately piano guitar interplay, and overlaid with more spoken samples and Birdsong. Nice clipped rhythms in this one, ending with a pretty guitar solo.
The band utilize a Solid rhythm sound construct of varying speeds and intensities, with more voice samples and stop/start guitar on Chromosphere /Tidal Disruption’, which has a stately progression combined with gentle piano arpeggios. The second section makes use of more insistent arpreggios, and tension is built with the guitar, bass, drums interplay, always still building. Subsonic bass leads to a heavy Jazzy section then full on post rock, a great way to end the set. Here’s hoping the band will play more Prog festivals and gigs.
Doris Brendel & Lee Dunham
The time for mayhem and fun arrives in the form of Doris and Lee. They are a wonderfully engaging act, ever ready for audience interaction and involvement, even the the point of asking those in the audience to act as their ‘Space Echo! Doris is oft compared to Sam Brown, and her sparkling vocal performance tonight demonstrates the valid comparison, her smoky crystal quartz voice emoting clearly with power passion and control to produce frisson inducing vocal Melodies.
An Acoustic duo playing melodic Prog and Blues-tinged rock, they set their stall out with the delightful ‘It Can Only Get Better’, with its Charming wordless vocal refrain, elegant picking from Lee, and some nifty chord changes that lead the song along. ’20 Years’ next, showcases the wonderfully smoky voice that Doris is blessed with, and a strident chorus that opines ‘Why don’t you listen to my pleas? A sorry everyday tale of being wrongly accused of a crime and being sent to the space mines as punishment. Doris notes that Lee has a long 12 string guitar solo in this one, and indeed he does!
‘You’re Bugging me follows, a reflective slinky country blues with a flowing effective guitar line riff played By Doris, ably supported by Lee.
Now is when the fun really starts. Are we up for a guessing game? Indeed we are! Drawing The Line introduces us to ‘Truth of Bollox’, an invitation for us to state if what we think is being played and said is true. Wonderful ‘oh-ohs’ and stunning guitar solos from Doris ( Truth or…wink). Nice 12 string guitar accompaniment by Lee completes the jaunty almost Reggae-like music palette.
‘Latest Fantasy’ sees Doris on a Low Whistle, telling the tale of one who finds each new fantasy so much better than their own reality. The silver whistle provides a touch of Celtic sound colour to proceedings, and Doris’ solo shines to good effect. Lovely track.
‘Never Too Late’, a slow burning blues number sashays on stage next, consummately delivered, and will come as no surprise then that Doris album Big Blue Sky has been nominated for a UK Blues Award. Yes, she is that good.
‘Blue Egg (From Another Planet), a tale of Spaceship journeying collectors amassing thought changing alien artefacts. Lovely close harmonies in this number, and here the duo demonstrate how in sync and tight their playing is. Doris gets to utilise that wonderful bluesy wail she is so blessed with on the chorus.
The Finale ‘Takes One To Know One’, sees the return of the low whistle, and a hint to Janis Joplin, with a brash and breezy folky blues feel and a great way to entertain a captivating, entertaining set, one fully enjoyed by an engaged audience.
Spriggan Mist
Just two words-
Blisteringly Storming!
That’s it, that’s the review!
Seriously though, this was one of the best played, concentrated essence of Spriggan Mist, you could dream of seeing at a gig. They make their Solemn entrance enrobed in Dragon cult hooded cloaks, and take the stage ready to entrance and Magick.
Blasting off with the conceptual triptych concerning their fiery Dragon familiar, Isambard, (The Gaze of the Dragon, Gregorian Ode to Isambard and Isambard the Mechanical Dragon), they floor the audience with a powerful 1,2,3 full of power and precision, a veritable Bohemian Rhapsody, or as it will henceforth be dubbed, the ‘Isambardian Rhapsody’ for the Prog/Pagan/Folk world, born of circumstantial happy accident. Bassist Baz Cilia reckons it’s probably the best the band have ever played it, and one tends to agree.
The next number ‘Faery Wood’ is rapidly becoming the centrepiece of any Spriggan gig. Penned by Vocalist Fay Brotherhood. It concerns unrequited supernatural romance, and flows from delicate filigree acoustic guitar sections from Fay, to controlled majestic power full band forays, the juxtaposition between which imperial period Yes would be most proud of.
Following on is the masterful ‘Pieces of Glass’ , warning of a manipulative Welsh crone who controls lives by way of symbol festooned glass playing pieces on a large gaming board. This song has it all, drum poly rhythms from drummer Ali Soueidan, acoustic guitars, flutes, almost Metal like syncopated refrains and beautiful tender, wistful flute courtesy of Multi-Instrumentalist Maxine Cilia. Another Spriggan must see and hear classic.
When Stars Collide, a take of astrological determination, explodes into being next. This song begs for audience participation via off-kilter hand-claps, foot stamping singing along, dancing even! A song in two sections, with a lovely long saxophone centred coda, that Grady’s band and audience for-
Ianatores Teresteres (It’s easier to pronounce if you sing it!). A full on rocking Prog song, that you just know guitarist Neil Wighton revels in playing. Beautiful ethereal vocal sections twinned with rocking riffy Sections, a spine-tingling tale once more of supernatural Determination. A wonderful climax to a climactic set.
Spriggan Mist are absolutely on fire live now, having discovered their true sound, an alchemy built on and still influenced by their Pagan Folk beginnings, now with a Rock and Prog sophisticated sheen as evidenced by their latest album, the definitive Spriggan Album, ‘The Glare’!. Do. Not pass a chance up to see this incredible band.
EBB
Ahhh, the Mighty Ebb. Or is it?! Who are these imposters?! Doesn’t a Bad Dog usually play the bass, and who’s on drums?!!! Aww, they’re just messing with our minds, and showing off their talents by playing each others instruments! Kitty Basscuits indeed! Very, very rarely have I experienced goosebumps for every second of a gig in this manner, a stunning start to the show, with the instrument swaps, and being dressed in black and white (all bar Erin in a red dress) for a special date. And what a special date it was!
Beginning with the mind messing instrumental ‘Bacchus’, The bonkers musical Circus that is EBB demonstrate their Prowess at composing a slinky pulsing instrumental to introduce us all to a almost complete new show
First song in the normal band configuration
No ones Child begins with a mysterious, unsettling soundscape, the main song proper heralded by a synth low klaxon call that persists throughout.. Stately tension building piano courtesy of Nikki Francis leads to the full ensemble joining in. Bassist Bad Dog lays down the groove and we’re in Prog ecstasy territory. The musical landscape of this song perfectly encapsulates emotions, the personal to a band member, lyrics portray, and flows from one section to another. We even get that Kitty Dance.
Short and sweet interlude ‘Even fall’ sets the audience up for entry to the mindscape of ‘The Mirror’, the bands highly lauded recent album.
‘Reason’ has a pulsating piano guitar synced riff that conveys the songs dark and obviously deeply emotional lyrics, sung with real meaning by my Erin. The song has one of the great Prog riffs, and a stunning guitar solo that Steve Rotheray could only dream about. Ending with Erin singing a Capella, a deep breath before the latest albums’s title track ‘The Mirror’. Lyrically centred on facing one’s self and externally inflicted demons, and having the courage to face what is seen, the song is a Prog Tour-de-force. Spine-tingling musical passages flow in this examination of Psychological and emotional pain, transitioning from classic pastoral keys to an almost Floyd Brick in the Wall like disco beat. The ending is massive and anthemic, leaving no parts of the soul untouched. Totally masterful.
Day 19 is the wildest track played at the gig. Period. This is the superlative outcome when Ms Biscuits is given free reign in a musical context, and one which delights in allowing plenty of dramatic range to convey the over-abundance of feelings that seems to occur on a monthly basis. Prog written by women for women, and even more stunning for that. Special mention must be made here of Anna Fraser’s exceptional expressive and dexterous drumming, on this track especially, exhibiting percussive prowess that would have many a Prog drummer proud to have displayed.
Cuckoo/Take to the Stars sees the collective weave the sonic and visual magic to even greater heights. Just when you think how much Proggier can EBB get, Nikki’s gorgeous flute refrain opens a stunning exploration of Prog styles from the gentle, to the angular and almost dissonant. I mean, can anyone song contain Pastoral Cantebury, Zeuhl and RIO sounds in one groovy segued composition? Well of course, it’s a piece of cake for EBB! Kitty prowls the stage, cavorts with a starry constellation and is caught in a chase off the stage with the Cosmic Jester in her Devil guise. The harmony vocals of Synth Player Suna Dasi shine bright as the stars on this number, and the whole experience leaves one speechless.
So we’ve had a sublime encyclopaedic Prog primer, masterful song composition, The Cosmic Jester in her many guises, bubbles, kitty being allowed to have a sword and shield like a mirror-finished Boudicca, chases, stars, instrument swaps that were just breath-taking in scope. Exhausted yet? Well let’s finish with-
‘Geneva’, a gentle swaying sing along that builds and builds to a none more Prog keyboard solo. EBB end a monumental set with a massive anthemic song that elicits a climactic rousing denouement to what must be one of their best live performances ever. You bet there was a standing ovation! Ebullient!
Solstice
How do you describe Solstice without resorting to cliché and that ‘J’ word? Impossible right? Well we’ll see. Entering the stage to great acclamation we’re straight into a trio of songs from the classic ‘New Life’ album with ‘ Morning Light’, ‘New Life’ and ‘Guardian’
‘Morning Light’ sets the show in motion with stately exuberant confidence, and we are instantly transported to harmonic vocal uplands, courtesy of Jess, Dyanne and Leoni. All the classic Solstice elements abound from the off, and we know we are in for one of ‘The’ shows.
The buoyant and breezy ‘New Life’ enchants us with its cheery melody and precise instrumentation.as the band sing ‘This is the start of something More than we've ever known, Look see how it has grown,Stay with the music, Come join us now…’ the audience is happily compelled to comply.
‘Guardian’ enters with a dignified majesty that entrances the audience, and runs through airy, funky, instrumental ensemble playing, tight as the tightest nut, with Jenny’s Violin shining bright. Floating drifting vocals add an air of magnificent grandeur to one of the most uplifting Prog epics. A most heartfelt solo from Mr Glass concludes the song in sincere profundity. Stunning!
We now enter the realm of the latest album ‘Clann’ with the wonderfully jiggly syncopation that is ‘Frippa’. Mesmerising band interplay, a great keys solo from Stephen, who has an unstoppable beaming smiling throughout the set, and a tastefully yearning melancholy via Jenny’s violin.
‘Plunk’ brings the Funk, and how! The rhythm section of Robin and Peter manages to raise the heights and simultaneously construct a solid foundation on which vocalists and band can fly.
Wongle no 9 swaggers in next, full of staccato soulful call and response vocals from the golden voiced trio. It is a beautifully measured, considered mellow groove that can’t fail to elicit synchronous movement from the delighted audience.we also enjoy the delights of a guitar battle between Andy Glass and Leoni Jane Kennedy, trading top notch solos, a J…. (Er, nearly)… a wonder to behold!
Mt Ephraim sets of with that clever violin jig, and leads to incredible dance inducing energy, and a swaying vocal section. It’s indeed the verses and choruses that allow breathing space for all before the return of the whirligig instrumental rave up.
After a setlist consultation, Andy asks if we’d like an extra 13 minute song? Well, what else would be doing at The Temple of Prog?!! Yes it’s Shout! One of the bands Proggiest tracks, layers of sumptuous keyboards a-topped by gorgeous violin. Andy Glass Guitar sits well in the arrangement, playing for the song, and still carries off a liquid solo with aplomb. Steve’s keys patch into classic organ sounds, and Jess, Dyanne and Leoni sing the vocal refrain with wild abandon and dance unrestrained, as is mandatory at a Solstice gig. No wonder it’s a classic.
A New day. Beautiful entrance to the song, Leoni on acoustic whilst Andy plays crystalline notes. A Beautiful, reflective song, a Jess and Andy duet, followed by the most majestic, sway-iest, smoothest of Prog Waltzes. Stunning frisson inducing vocals from Jess here.
And then we are surprised with Yes’s ‘Your Move’ . A veritable sing and clap along in the hands of This band. This morphs into ‘Sacred Run’. And Tine has come to end… classic guitar/violin duet, with Andy ultimately going into the audience to play in the midst of all the J.., (almost!)… happy dancing. Another great sing-along and a rousing end to today’s exceptional worship. You are the music, we’re just the band…’ they intone, oh, but what a band!
And That ‘J’ word wasn’t mentioned once, and we can all be Joyful for all that has just transpired indeed…
And sadly thus, as determined and confirmed by Our Temple guide Kitty, Worshippers, acolytes and Novices alike, attain ultimate Prog transcendence, ably guided by wonderful bands, musicians and vocalists. The Temple of Prog is here to stay, a now permanent fixture in the Prog firmament. A big thank you to EBB and team, The Brickyard team, the bands and the audience for an historic momentous day. You must worship here at least once in your existence. More please!
Review by Mike Burgess.
