The Palladium // Friday, March 21, 8 p.m. ET
February/March 2025
Drummer extraordinaire Carl Palmer leads a tour celebrating the legacy of progressive-rock supergroup Emerson, Lake & Palmer. The trio were known for their classical influences, instrumental virtuosity and a string of platinum albums in the 1970s that made songs such as “Lucky Man,” “From the Beginning” and “Karn Evil 9” staples of rock radio. With full cooperation from the estates of his late bandmates, Keith Emerson and Greg Lake, Palmer developed this production, which combines a live performance by Palmer and his current band with video footage of Emerson and Lake from a 1992 ELP concert.
Don’t miss this extraordinary and reimagined performance by the late Emerson and Lake, along with founding member Palmer and fellow musicians Paul Bielatowicz and Simon Fitzpatrick! Purchase your tickets at thecenterpresents.org!
Janelle Morrison: I’m excited to talk about the production efforts behind this tour and what makes it unique and special.
Carl Palmer: Alright, let me take you back to the very beginning. The visual side that is being used is from two concerts that were played at the Royal Albert Hall in London in the early ’90s. We played there two nights, and it was a five-camera shoot, which meant we had lots to edit to make up a DVD … which we did do, and it did get released.
The reason why that is so important, and how it all adds up with the technology we use today, this [five-camera] shoot was recorded in such a way that the audio for all the instruments was recorded individually and all on their own tracks so we could remix or repair something and the visuals would be OK. Most bands recorded the audio and visuals at the same time in the mid-’90s.
JM: Another testament to how ELP was always thinking outside of the box and was ahead of its time. Little did you guys know that you’d be using the tracks and audio footage with modern-day technology to create this epic show.
CP: And with the technology that is available, I’ve taken the visual aspects from that DVD and completely wiped myself out of all the frames so you wouldn’t see me playing with Keith and Greg. I add my drums to it live, which obviously means that we can actually remix Emerson, Lake & Palmer every night.
JM: How long did the editing take?
CP: It took about 11 weeks. And the magic here is that the visuals are completely in sync with the audio that you hear because it all came from the same DVD. I’ve got a sync track that I play along to, which keeps me perfectly in time with what we originally recorded when I play live. It’s the real band playing, but Keith and Greg are on film. We’re not using robots or holograms. This is Keith and Greg at their very best, probably at the top of their game.
We used an AI program to take away some of the graininess and some of the redness in the lights and smoke or whatever may have been there, and we managed to wipe that stuff out. The footage looks better than the original that was shot.
It was all approved by the families, who are involved financially as well. I had the final say as far as quality and whatever worked for the show, and it’s been touring for about two years now … going into the third year.
JM: How have the audiences received it?
CP: Well, it’s been interesting. The old fans who come along are completely mesmerized by what is happening, and it’s crossed over some bridges, bringing younger people — the sons, daughters and grandchildren [of older fans]. It’s just fantastic!
Some people [in the beginning] were suspicious of it, you know. I know Keith and Greg would have wanted it to be done in the most honest way. The project is solid … the way it should be. I’m enjoying it and bringing [the music] to new people. It doesn’t get any better than that.
There has been some resistance from Europe.
JM: Really? That’s rather surprising.
CP: They don’t get it. The Germans don’t get it. The French never got ELP anyway [laughs]. The English are rather sort of slow in wanting to pick it up. I played in Japan, and the Japanese absolutely loved it. We’re going to South America this year, and there seems to be a lot of interest there and in America.
JM: Well, I can’t speak for Europe, but I can’t wait to see and hear what you’ve done with the aid of technology and your commitment to keeping it authentic while honoring ELP’s extraordinary legacy.
CP: Nobody’s incorporated a whole group playing together with two guys who are dead, you know. It’s all in sync and in perfect time. So, it’s something kind of unique.
JM: You’ve worked on several projects over the years. What’s next for you project-wise?
CP: I want to stay with this [the tour] right now, embellish on it and grow it. I think it’s part of the next chapter, really, and obviously, it’s probably one of the last chapters in my career. It’s really important because, as I say, the technology’s caught up and is enabling me to do it. So, I’m kind of taking the bull by the horns and going with it.
