There are concerts that entertain you, concerts that move you, and then there are concerts like Peter Gabriel’s — immersive, soulful, cerebral experiences that remind you how art and music can blend into something bigger than both. His September 2023 show at Rocket Mortgage FieldHouse wasn’t just another rock concert. It was a night of reflection, innovation, and deep human connection from one of music’s most creative minds.
Gabriel, now in his early seventies, has never been one to coast on nostalgia. He doesn’t rely on pyrotechnics or cheap thrills. Instead, he builds worlds — visually, musically, emotionally. The show in Cleveland was split into two sets, with each portion of the night serving as its own journey: the first rooted in his new album i/o and the second steeped in the weight of his classics. Together, they formed a cohesive portrait of an artist still evolving, still pushing boundaries, still unafraid to be earnest in an age that rarely rewards it.
A Gentle Beginning
When the house lights dimmed and Gabriel walked out onto the stage, the atmosphere felt intimate, even in the cavernous FieldHouse. The stage setup was understated but artistic — circular lights, minimal props, and a massive projection screen that would later transform into a living, breathing canvas of images.
He opened with “Washing of the Water,” seated and calm, his voice warm and slightly weathered but still filled with that unmistakable Peter Gabriel timbre — that delicate balance of vulnerability and command. It was a tender way to start the evening, as though he was inviting the crowd into his world before pulling them into orbit.
Then came “Growing Up,” a playful shift in energy that had the audience swaying and smiling. The song’s rhythmic pulse and hopeful tone felt like a reminder that Gabriel, even with his reflective new material, hasn’t lost his sense of wonder.
“Panopticom,” one of the new songs from i/o, was the first taste of Gabriel’s latest creative phase. Projected visuals depicted satellites, data grids, and human faces — a reflection on surveillance, technology, and the modern world’s digital paranoia. It was classic Peter Gabriel: equal parts heady and heartfelt.
The Artist and His Canvas
The beauty of this show was how it constantly balanced technology with humanity. “Four Kinds of Horses,” inspired by faith and conflict, felt like a sonic meditation. The lighting design — beams of white light cutting through soft blue haze — turned the arena into a chapel. Gabriel’s voice, layered with harmonies from his incredible backing singers, filled the space like a prayer.
The title track “i/o” followed, its melody smooth and expansive. The song’s message — about connection, community, and shared experience — seemed to echo through the crowd. It’s a song that feels both personal and universal, perfectly at home in an arena filled with thousands.
“Digging in the Dirt” brought the first major surge of energy. The familiar riff sent a wave of excitement through the crowd, and Gabriel leaned into it with playful intensity. The visuals were stunning — abstract animations of roots, soil, and faces emerging from the ground, matching the song’s psychological excavation. The years haven’t dulled the song’s edge or its emotional punch.
“Playing for Time” was one of the most poignant moments of the first set. A meditation on memory, aging, and the passage of time, it had the audience in near silence. Gabriel’s delivery was delicate, almost conversational. His band followed his every breath — subtle piano, light percussion, and gentle strings swirling around his vocals.
“Olive Tree” and “This Is Home” continued the thread of optimism that’s been woven through i/o. Both songs pulsed with rhythm and life, featuring stunning visuals of trees, faces, and kinetic movement. You could feel Gabriel’s fascination with human connection — the idea that every living thing shares a pulse, a rhythm.
Then came the first set’s exclamation point: “Sledgehammer.” The crowd leapt to their feet before the first horn stab even hit. The song hasn’t aged a day; it’s still an unstoppable force of groove and joy. The band nailed every detail — the funky guitar stabs, the swaggering rhythm, the playful backup vocals. Gabriel was clearly having fun, even throwing in a few dance moves that drew a roar of applause. The lights exploded into color, and for a few minutes, Rocket Mortgage FieldHouse turned into a giant party.
A Second Act of Shadows and Light
After a short intermission, the second set opened with “Darkness,” and the tone shifted immediately. Where the first half celebrated connection and creation, the second half examined the struggles and shadows that come with it. “Darkness” hit hard — Gabriel’s voice cutting through industrial beats and ominous lighting, confronting fear head-on.
“Love Can Heal” was the counterpoint, a tender, hopeful balm. The visuals of blooming flowers and soft hues wrapped the crowd in comfort. Gabriel’s empathy has always been his superpower, and it radiated here.
“Road to Joy,” one of i/o’s most upbeat songs, felt like a celebration of perseverance. Its driving rhythm and gospel-like energy lifted the crowd, many of whom were already dancing. Then came one of the emotional peaks of the night: “Don’t Give Up.”
Even without Kate Bush on stage, the duet was breathtaking. Gabriel’s backing vocalist took on Bush’s parts with grace and power, and together they transformed the song into a moment of pure, shared catharsis. You could see couples holding hands, people with tears in their eyes. The message was simple but devastatingly effective — don’t give up.
“The Court,” with its shifting rhythms and dark imagery, added a theatrical flair to the night. The massive screen behind Gabriel flashed images of judges, scales, and swirling colors, creating an atmosphere both surreal and haunting.
“Red Rain” was next, and the crowd erupted at its familiar intro. The song remains one of Gabriel’s finest, its blend of melancholy and drive unmatched. He sang it with conviction, his voice soaring through the chorus as red light washed over the crowd like a storm.
“And Still” brought the tone down again, reflective and spiritual. It’s a quieter song about loss and continuity, and Gabriel’s performance was beautifully understated. The stage lights dimmed until he was a silhouette, framed in blue.
The mood lifted again with “Big Time,” which was pure fun. Gabriel joked with the crowd, emphasizing the song’s satire about ambition and ego. The groove was infectious, and his band sounded phenomenal — tight, funky, and joyful.
“Live and Let Live,” another i/o track, showcased Gabriel’s enduring optimism. Its refrain — about coexistence and understanding — landed perfectly in today’s fractured world. By this point, it felt like Gabriel was less performing and more preaching, in the best sense of the word — gently urging empathy over apathy.
Then came the song that always feels like coming home: “Solsbury Hill.” From the first acoustic notes, the crowd roared. The story of rebirth and self-discovery still resonates as deeply as it did in 1977. Gabriel danced around the stage, grinning, his voice filled with warmth. The crowd sang every word, and the lights sparkled like fireflies.
The Encores: Heart and History
The first encore was “In Your Eyes,” and it was transcendent. The lights turned amber, the percussion built, and Gabriel’s voice carried through the room with all the emotional power you’d expect. It’s one of those songs that can stop time, and for a few minutes, it felt like it did. The crowd sang the chorus with him, thousands of voices merging into one. The energy was euphoric but deeply tender.
Finally, he closed the night with “Biko.” The stage was lit red, the screens displaying the late anti-apartheid activist’s image. Gabriel’s voice, though quieter now, carried an intensity that filled the arena. As the song built, the crowd began clapping along, chanting “Biko” in unison. It was both haunting and hopeful, a reminder of music’s power to remember, to resist, to unite.
When the band left the stage, the chant continued long after the lights dimmed.
Setlist
Set 1:
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Washing of the Water
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Growing Up
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Panopticom
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Four Kinds of Horses
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i/o
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Digging in the Dirt
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Playing for Time
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Olive Tree
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This Is Home
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Sledgehammer
Set 2:
11. Darkness
12. Love Can Heal
13. Road to Joy
14. Don’t Give Up
15. The Court
16. Red Rain
17. And Still
18. Big Time
19. Live and Let Live
20. Solsbury Hill
Encore:
21. In Your Eyes
Encore 2:
22. Biko
Final Thoughts
Peter Gabriel’s show at Rocket Mortgage FieldHouse was proof that true artistry doesn’t age — it evolves. He’s still a visionary, still restless, still searching for meaning in a chaotic world. The production was stunning but never overbearing. The message — about humanity, love, technology, and resilience — was delivered with grace and sincerity.
The band, featuring longtime collaborators and brilliant musicians, played with precision and passion. The visuals were breathtaking, but it was Gabriel himself — his voice, his presence, his humanity — that anchored the night.
Leaving the venue, there was a sense of calm, like everyone had shared something sacred. In a world that often feels divided and noisy, Peter Gabriel reminded us that connection, empathy, and creativity are still our greatest strengths.
It wasn’t just a concert — it was a communion. And as the echoes of “Biko” faded into the night, it was clear: Peter Gabriel remains one of the most vital and visionary artists alive.