by Prog Nick
Proggers are nice people (especially to each-other.) They just are, and I suppose that this is partly due to the niche musical connection that binds them. They appreciate one another and revel in the feeling of belonging that this music provides. And that includes the artists. Ross Jennings of Haken and Randy McStine of Steven Wilson’s band, for example, are, plainly and simply, some of the nicest and most gentlemanly individuals on the planet. They are also extremely approachable, and while this does not necessarily apply to all music artists, they kind of need to be so on the floating Prog madness that is Cruise to the Edge. Rock stars freely share elevators, bars, and restaurants with the fans, and sometimes even the stage itself on Late Night Live, the passenger performance stage. There is a sense of camaraderie, friendship, and, well, belonging, that abounds throughout the ship and is not to be found quite anywhere else.
Whilst not everything on the ship always runs according to schedule, the event is generally a pretty well-run affair, with reasonable efficiency and promptness being the order of the day. The 2026 edition, the tenth anniversary of the event, was no exception. It was a jam-packed festival that provided almost too much music to absorb in short spaces of time without enduring fatigue. But the honest fact is that we would not have it any other way.
My own personal cruise 2026 experience went something like this:
The event began the night before embarkation at the Pre-Cruise Party held at a Miami casino, where John Wesley, Jason Bieler and The Baron von Bielski Orchestra and The Dave Kerzner Band delivered excellent sets. Wesley was suitably introspective and plaintive, Bieler was hard, heavy and ultra-precise (especially for a band offering its debut performance), but Kerzner was the highlight. His band (especially monster drummer Derek Cintron) was immense, and despite a small glitch here and there, delivered exactly what the audience desired – a mixture of Kerzner’s better material and a host of classic Genesis songs. Enter the great Francis Dunnery. I have been a massive fan of Dunnery’s work since his band It Bites dominated the 1980’s, and Dunnery’s mighty voice and guitar, combined with his imposing height, were perfect to conjure up Gabriel-era Genesis without being a parody. It went down a real treat, and the audience was now primed for a great cruise.
The next morning (Day 1), having boarded the ship and fed myself excessively at the always-sumptuous buffet, my cabin was ready in short order, and my baggage arrived much sooner than I expected. That side of things (NCL’s travel operations) is exceedingly efficient.
But of course, then the inevitable scheduling problems began. I was eagerly waiting in line for the Stardust Theater doors to open for opening act Wishbone Ash (one of my favorite bands), but some 45 minutes later, security staff emerged and announced that the gig was postponed/cancelled due to non-arrival of equipment. Well, folks, as annoying as this type of thing might appear to be, it is unavoidable, especially on the first day of any music cruise, and one gets used to it. It has, quite frankly, happened on many iterations of the cruise and is just part of the deal.
Onward to the ‘Sail Away’ gig – the mighty Flower Kings on the outdoor Pool Stage. It was a good show, if a little detached due to the distance from the crowd barriers to the stage, and it was delivered with smooth aplomb. Drummer Mirkko de Maio broke a snare head mid-set, and effortlessly continued as if nothing had happened – he is a real pro. There was a false start on one song and then some technical keyboard problems, but Roine, Hasse and Lalle just pressed on regardless. The ship set sail at exactly 16h58.
On to the Adrian Belew Trio in a full-ish Stardust Theater. Belew was in good voice immediately post the Beat tour, and pointed out enticingly that there were three members of 80’s King Crimson on the ship, which sent the crowd into ecstasy. The band was tighter than ever, delivering the kind of gratifying sonic weirdness that only Belew can muster.
I then went on to watch The Pete Roth Trio featuring Bill Bruford and was fortunate enough to share the experience with the great Bill Hubauer and his wife. (This is the type of thing that happens with regularity on the ship.) Bruford was on point, playing as well as ever, and absolutely did not sound like a man who had just emerged from retirement. The band was excellent and appears to have an air of sustainability about it. Later that night. Temic delivered a hard and heavy set to close the night, and it immediately became clear that they had stepped up a few notches to be as good as any other band on the cruise.
Day 2 was a port day at Key West. The scarce delights of that stop ensured that I was back on the ship to see Marbin at 11h30 and then Crack the Sky at noon. The latter band was one of the finds of the cruise for me, not having been overly familiar with them before this show. Vocalist John Palumbo had laryngitis and Bill Hubauer had to quickly overcome some technical issues with the keyboards, but the band delivered a mighty set of Prog, Rock and Blues and immediately won me and many other fans over. It was a great set.
A rescheduled Wishbone Ash then appeared in the Spinnaker Lounge. Again, I waited with eager anticipation to see them and was unfortunately disappointed. This was not due to any fault of the band, but rather of the venue. The Spinnaker Lounge quickly gained the general reputation of the least favoured venue on the cruise after this gig. The seating is inadequate, the room is shaped in a horseshoe with many pillars obstructing audience view, the waiting area is cramped, the sound is inconsistent due to the room’s shape, and the security staff is at their wits’ end trying to control a largely irritated crowd. I miraculously found a space to stand and watched a small part of Wishbone’s set, and it seems to me that the circumstances affected them too. Because this show conflicted with Simon Phillips and Protocol, I reluctantly gave up on one of my favorite bands and went to watch the superstar drummer in the relative comfort of the Stardust Theater instead. The maestro was more than on form.
Eddie Jobson gave a Q and A before Lifesigns delivered their first gig on the Pool Stage. These now-recognised and anointed princes of the cruise did not disappoint. With brilliant new drummer Frank van Essen driving from the kit (and even playing some fine viola parts), Lifesigns played a brand-new song that was excellent and generally delivered a set consistently brilliant enough for them to retain their mantle as cruise favorites. A wonderful set.
Steve Hackett, featuring new faces Lalle Larsson and Felix Lehrmann, delivered the usual top-drawer performance that we have come to expect. The first half was made up of solo Hackett material, and the second half full of classic Genesis material. It is a credit to Hackett that he keeps this treasured material alive and pays it such immaculate respect. Magnificent.
The mighty Haken then delivered their big sound on the pool stage, with just the one guitar of Rich Henshall and stand-in bassist Tiggy Bass, who acquitted herself perfectly. This band has lost none of its force despite the changes, and Ross Jennings, in particular, is to be lauded for his always brilliant delivery. It got windy enough for the PA to have to be lowered during the last song, but the sound remained thunderous. This band is far, far from over.
For me, the most impressive vocalist on the cruise was Queensryche’s Todd La Torre. This man has a power and range in his voice that very, very few can claim to emulate. You really have to see him live to understand. The band was thunderous, but in my opinion the mix was just too loud to be bearable towards the end of the set. Yes it was metal, yes it was outdoors, yes the PA had massive headroom, but it was just too loud for these ears. A 10db reduction would have made this the perfect metal gig.
Not to be forgotten, the Late Night Live passenger stage, run by the excellent Rob Rutz, delivered surprise after surprise during the cruise. The first of these was an impromptu jam by Randy McStine, Jonas Reingold, Simon Phillips and Adam Holtzman. The last (on night 5) was a jam of Billy Cobham’s ‘Stratus’ by Minnemann, McStine, Marc Bonilla, Adam Holzman, Jane Getter, Rylee McDonald and Mike Keneally. And there were many other surprises in between, featuring the likes of NDV and many others appearing in an impromptu fashion. Only on Cruise to the Edge could this happen. Speaking of Rylee McDonald, some prog fans will know him from his band Advent Horizon. He was one of many surprises on the ship as he was brought on to perform acoustically along with his friend and brilliant pianist Jared Hill (who also performed with Reb Beach Fusion Band). Both would perform daily at Bar City and were exceptionally entertaining, as was cruise veteran Brooke Hansen, who returned after a year hiatus.
The Prog Report’s editor Roie Avin, kicked off day 3 with a lively in-person episode of Wheel Of Prog featuring Ross Jennings, Randy McStine and Crown Lands members Cody Bowles and Kevin Comeau, ranking Prog epics. As always, this is a lot of fun and creates some interesting debates. This was followed by a Lifesigns Q&A. Then came one of the biggest surprises of the cruise for me. Encouraged by my knowledgeable Prog Report colleague and friend, Jeremy Lechner, I went to watch Lari Basilio. Great call, Jeremy. This small package of dynamite delivered explosion after musical explosion and truly deserves to be recognised as one of the premier rock guitarists around. Thoroughly enjoyable.
Stick Men followed in the Spinnaker, which presented the usual seating problems, but Levin, Mastelotto, and Reuter were on fire. There was a distinctly King Crimson feel to the set, which included the song ‘Larks Tongues In Aspic’. Of course, there was generally a lot of King Crimson presence on the ship, with Belew, Levin, Mastelotto and Bruford all qualifying as alumni, and Jobson and Reuter almost as honorary members. This presence pleased many passengers.
Marillion’s first theater performance had surprisingly many open seats, and this may have resulted in an odd, even lackluster, performance by them. The band were their usual solid selves in general, though Rothery appeared to lose his way in Kayleigh, resulting in an extended jam section. But overall, most fans seemed to enjoy the show.
That night I myself played on the Late Night Live stage and was very gratified to have received kind comments from several people, including Ross Jennings, about our somewhat sound-challenged performance. Late Night Live is always a refreshing part of the cruise that brims with enthusiasm, good nature and surprises. You should make sure to catch it if you attend a future cruise.
Day 4 was a port day, featuring the familiar touristy chaos of Nassau. I did not last long there before Lifesigns, a far more enticing prospect, drew me back for their second set, this time in the Stardust. The last time they played this venue was an absolute triumph and it was always going to be hard to top that show, but somehow they achieved this, courtesy of the tasteful but powerful drumming of van Essen and now the sound of the excellent Steve Rispin (who had missed the Pool Stage set due to a clash.) The set was filled with good-natured humor, and started off with Dave Bainbridge joking about the fact that he has played the cruise with four different drummers. John Young immediately retorted ‘I can tell you where they’re buried.’ The band proceeded to perform a slightly different set, this time with two new songs, and the result was just magnificent. Hearing “Altitude” live is always special – one of the best shows of the cruise without any doubt.
I finally got to see my beloved Wishbone Ash in a better setting, now on the Pool Stage. What a difference a day (and a better venue) makes. This was an exceptional show with excellent sound, an animated band, and above all, a far better vocal mix that allowed the band’s well-rehearsed harmonies to shine. They played many classics, including several from Argus, and surprisingly pulled out excellent deep cut FUBB – one of my favorites. A brilliant show which was one of the stand-outs of the cruise. The crowd loved it.
Earthside in the Spinnaker was solid and heavy with lots of enthusiasm, and the Hackett Q and A, immediately thereafter, revealed some fairly personal insights, especially about Steve’s relationships with Phil and the other members of Genesis, and his relationship with the music itself. Simon Phillips then delivered his Pool Stage set with Protocol, which I watched from the upper deck, directly behind Simon’s see-through acrylic beast of a Tama kit. A drummer’s dream.
Then came another stand-out show – Randy McStine in the Atrium. Mixed by audio genius Rich Mouser, Randy and his new band delivered a set of absolutely wonderful songs – many of which were brand new. His set ran over time and the roadies tried to shoo him off the stage after an hour, but everyone (including Randy himself) was having too much fun for that. It was an incredible show – a definite contender for my top three favorite gigs of the cruise.
Big Big Train were next in the Theater, and I had been relishing the prospect of this show all cruise. Surprisingly, the venue was not full, and speculators surmised that this was because Crown Lands, everyone’s new favorite act, were on at the same time. Be that as it may, BBT bestowed an immaculate set, featuring many songs from their new album Woodcut. I was a little disappointed that there was no guest appearance by Ross Jennings (who sang ‘Love Is The Light’ at BBT’s first show), but it was a great show nonetheless, made even better by the fact that I had a prime balcony seat overlooking NDV’s monster kit.
Day 5 was a swelteringly hot day at sea kicked off by the second Wheel of Prog ranking Prog debut albums, featuring Big Big Train’s Rikard Sjöblom, Greg Spawton, Alberto Bravin and Nick d’Virgilio (who did not disappoint with his always interesting perspectives.) At this point, I should mention the incredible job by the announcers who consistently ran from stage to stage to introduce the bands and MC various other events, including The Prog Report’s own Roie Avin, who introduced at least half of the bands and Q&A’s that I saw. These stalwart hosts which also include Jon Kirkman and Mike Dawson, along with Izzy Presley and DJ Will, kept the shows going and often had to sacrifice their own enjoyment for the sake of the bands and the fans.
Musically, the day got off to a loud and heavy start with Rendezvous Point on the Pool Stage, featuring Baard Kolstadt of Leprous, and then Symphony X in the Theater. Randy McStine had been so good the first time that I could not miss the second show (also in the Atrium), which turned out to be just as good. District 97 have many loyal, die-hard fans, but after a few songs I decided to go to Jane Getter Premonition whose classic style was more up my alley. Their audience was surprisingly sparse, and it strikes me that this was not due to the quality of the music, but rather to the less than enviable reputation that the Spinnaker Lounge had by now acquired. Again, the sound in the venue was overwhelmingly harsh (especially in the front), and even with a small crowd, visibility was a problem. On my way from there to see Eddie Jobson in the Theater, I caught Temic on the Pool Stage, who sounded great again, with sound magician Rich Mouser at the helm. They put on an incredible show, with members jumping in the pool during songs, and lead singer Fredrik Klemp using the entire pool area as his stage.
Then it was time for the much-anticipated second show by Eddie Jobson. What a band he had – Marc Bonilla, Mike Keneally and Marco Minnemann. I understand that his first show had experienced some technical problems, but this one was faultless. I have loved UK’s music for many years, and these fine gentlemen, guided by Jobson himself, did an impeccable job.
On to Crown Lands, about whom by now I had heard so much. Honestly, the whole ship was constantly talking about them based on what was a stellar first performance at the pool the previous night (and they as individuals are also quite hard not to notice.). You have to see this band. That is all I will say, other than this – I never saw Rush or Zeppelin live, but now I feel like I’ve seen both, and then some. Hopefully, they return to the cruise very soon.
The Flower Kings were far, far better in the Theater. They were much more interactive and engaged with the audience than at the Pool Stage. Roine Stolt even asked for the house lights to be turned up at the start of the show so that he could see the audience during the set. They were clearly a far happier band in this venue and Mouser’s sound helped them to be even greater. The set went so well that they added one of my favorite songs as an encore – ‘Stardust We Are’. What a way to end the cruise.
A good reason to get cloned and be in two places at once, Cruise To The Edge is an overflowing panoply of Progressive Rock. And it is not just the shows. The panel discussions, the interviews, the bumping-into-your-favorite-star-at-breakfast factor, the sheer atmosphere and the feeling of brotherhood and belonging. Anything can happen. For example, on night 5, I discovered that one of my musical heroes, Francis Dunnery, was in the cabin directly across from mine. We had a great chat about my 40 years of fandom and many other things – initiated, incidentally, by him, not me. There really is nothing quite like this environment anywhere else in the world.
My apologies to the bands that I could not get to see and that are therefore not mentioned here. If I were to offer constructive suggestions for the organisers, they would be to strive for fewer clashing shows (even if this means booking fewer acts), and perhaps to reconfigure the layout of the Spinnaker Lounge, if the cruise remains on the Norwegian Pearl.
Cruise to the Edge is the Holy Grail of Progressive Rock festivals and this is not without reason. A few crowds at the buffet and lines getting into the venues are, quite honestly, well worth it for the privilege of walking a few yards to see many or most of your favorite bands and their members, night after night, again and again, in several different settings and guises. In fact, you might just become a little blasé about all the Proggy choice – an unthinkable notion on dry land.
CTTE is a unique event indeed, and one that is destined to keep growing and expanding to maintain its status as THE number one destination for Prog fans world-wide. On that note, the announcement has already been made that next year’s Cruise will be extended to six nights, and top-drawer artists such as Neal Morse have already been booked. Mark your schedules and start saving your money, all you very nice Prog people – the next cruise will be here before you know it.
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