Steve Hackett - Prog with a view of the world

Every time I talk to Steve Hackett, at some point the conversation turns to Italy and what Italy means to him. As you'll read in this interview, these aren't just polite platitudes: the love Steve feels for this country is sincere, and rooted in an equal amount of love received ever since his days with Genesis. Italy plays a role of real significance in his autobiography “A Genesis In My Bed”, published by Rizzoli Lizard on July 21st. It's fascinating to be carried, through the pages of the book, into the private world of this great artist - a world not always as serene and satisfying as one might expect, but certainly real and gripping. A recommended read, just like the surprising new musical adventures that await us.

How are things going during this period of health emergency in the UK?

Personally, I'm very busy with a lot of recording - I've just released my book, which is also out in Italian - and I've got a lot of studio projects on the go right now. I'm working on many albums and releases: it's one of the busiest periods I've ever had in terms of recording. Working from home is very important at the moment, whereas working outdoors is under real strain.

On your records you bring together musicians from all over the world. Do you think today's technology is something of a blessing, since it makes all this possible even during a lockdown?

Yes, for example I've worked with a guy from Armenia and one from Azerbaijan! Everyone sends me material, and right now the only way musicians can work together is remotely. Even regular bands can't really meet up. It's a great way to work, giving everyone their own space and time to think about how to contribute, so that each person can send me their material only once it's ready.

“A Genesis In My Bed” is out now: tell us something about the “genesis” of the idea to write an autobiography…

My wife Jo encouraged me to write an autobiography fifteen years ago, when we first talked about it. Over the last two years I think I've put in the bulk of the effort: I rewrote a lot of things, it's a long process but a very enjoyable one. It was lovely to revisit all those periods, places and people in my memory. And that era too: before the birth of rock and roll, when I was still a child, I was already passionate about music - these are my memories of post-war London.

What was it like mentally revisiting your past while writing the book?

I felt I had to be honest and let people know it's been a very rich life, full of colour, but at the same time I wanted to be able to talk about my mistakes too, not just my triumphs. I tried to be honest talking about the times I was sad or when I was an idiot, just as much as the days when I was gloriously happy, like with my wife Jo.

What can fans expect to find "unexpected" in the book?

I think there's a lot that's unexpected, things I've never talked about in interviews - I was more honest and candid. It's only one part of what I talk about; normally in interviews you only talk about music, and in this case I went much deeper: it's just about me, my experiences, my distant past and my more recent life. There are plenty of things that might shock people, but also a lot of questions about Genesis which I answered honestly and positively.

I'm flipping through the Italian edition published by Rizzoli Lizard: it's beautiful, with lots of unpublished photos...

Yes, exactly: from the past, from when I was a child, or from just a few years ago. It's a behind-the-scenes look, in the truest sense of the phrase.

Last year we talked about "At The Edge Of Light": are you working on a new solo album?

Speaking of albums, I've been working on three different projects: a live one, an acoustic one with orchestra, and a rock record. Naturally all three are "indebted" to one another, they're three recording projects that are similar to each other in certain ways. What unites them is a shared orchestral common denominator and the influence of classical music, because bringing classical together with rock is a crusade I've been carrying on for a long time. The influence of the great masters... it's like painting it in oils, alongside the youthful stuff: the energy of youth and the experience of History are both present in the blend of styles I'm involved with.

Now the usual question: any recent contact with the other members of Genesis? Have you spoken to them since the book came out?

No, I haven't heard from them since the book came out. I think the last one I spoke to was Peter Gabriel, I saw him a while ago, probably less than a year ago, somewhere... at a ceremony! It's always lovely to see him, always a pleasure: he's such a sweet person and he really deserves all his success.

What final message would you send to Italian fans?

Well, let's put it this way: Italy is mentioned in the book because it was very important to me, and I think to all the other members of Genesis too. Fans from Italy have always been incredibly loyal, there's been an understanding of why we do what we do and what we do. Of course it's not just about fond memories from the past, but also about the present day: there are so many people I know and I miss them all, because I wish I could visit them. In any case they're all in my heart and in my memory, and I mention them in the pages of the book.

Do you still feel these emotions when you come to Italy?

Yes, Italy is an incredibly special place, as you probably know: in some ways I feel more Italian than British. It's a wonderful nation, the celebration of all things beautiful. Whenever I happen to go to Italy for work, I'm always captivated by the way things work there: there's something in the Italian spirit I'll always be grateful for, I simply feel more alive in Italy. There's understanding, telepathy, I feel welcome... I feel a special closeness with the Italian people. I have so many memories that it's impossible to quantify them: it's as if I had an entire city in my heart, you know what I mean, it's incredible! An amazing place in so many ways: historically, architecturally... the celebration of all that, together with the ancient world and the modern world in an extraordinary way that influences art. I remember an acoustic show I did years ago in Todi, it was part of a really interesting festival called The Art Of Dreaming: the whole thing was organised magnificently, and in a way it's the embodiment of Italy for me, which really is the artist's dream if you apply the concept to the whole country. It's something wonderful: I'm always inspired whenever I think of Italy.

I remember when you did the acoustic show here in Brescia and it was beautiful.

Well, I'm glad you enjoyed it! I made an acoustic album with the orchestra and there are at least two songs dedicated to Italy, I did more than one thing: there's "Casa del Fauno" and a piece by Scarlatti, a sonata that I recorded. One is baroque and the other a bit more modern, but I think they both capture the Italian spirit in the same way, they're very "ornate" – an architectural quality – and they celebrate life. Of course Casa del Fauno is in Pompeii, and it's something I recorded with Roger King, who created a magnificent orchestral introduction to this piece, on which my brother John appears on flute, together with Rob Townsend and Roger King himself. In a way, it's a kind of elegiac lullaby, the celebration of a beautiful place I've always felt drawn to: I've always loved Pompeii, it's extraordinary and tragic at the same time, a true crowning glory of the ancient world.

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