STEVE HACKETT ANNOUNCES BEST OF GENESIS & SOLO GEMS SHOW

STEVE HACKETT ANNOUNCES 'BEST OF GENESIS & SOLO GEMS' SHOW FOR A LIMITED 2026 RUN IN FLORIDA    

Prog rock icon Steve Hackett will  play a limited 4 show run in Florida in early 2026, performing his 'Best of Genesis & Solo Gems' show. As its title states, Hackett will be bringing you the very best of the Genesis songs from throughout his career with this awe-inspiring band, along with a selection of classic material from his many solo albums.    

Accompanying Steve for these dates with be long-standing musicians Lalle Larsson (keyboards), Nad Sylvan (vocals), Jonas Reingold (bass, guitar, backing vocals), Rob Townsend (saxophone, flutes, additional keyboards, backing vocals) and Felix Lehrmann on drums.   

These will be the only 4 dates here in North America and tickets will be going on sale on September 12th at 10am EST.   

But in the meantime, ticket presale is also available via these individual show links (with the presale password being HACKETT):  

Ponte Vedra Concert Hall  
https://www.axs.com/events/1123984/steve-hackett-tickets

Ruth Eckerd Hall Clearwater
https://www.rutheckerdhall.com/events/detail/steve-hackett

Plaza Live Orlando 
https://www.axs.com/events/1130608/steve-hackett-tickets

Au-Rene Theater Ft. Lauderdale 
http://www.ticketmaster.com/event/0D006324CE794B4B?brand=broward

It has been 12 years since STEVE HACKETT brought his classic Genesis Revisited show to us.  Back then, in 2013, his North American and UK tours culminated in his acclaimed performance at London’s Royal Albert Hall and the following release of the live DVD of that performance.    

Since then, Steve’s timeless guitar work has been woven throughout the classic Genesis albums of the '70s. In recent years, he and his world class band have brought several of these albums back to concert halls to even greater acclaim, and the 2025 tour featured the classic album ‘The Lamb Lies Down On Broadway’.     

Soon, North American fans will get to experience Genesis and solo Hackett classics…by the man himself!  

CONFIRMED TOUR DATES:
Wed. 02/25/26:            Ponte Vedra Beach, FL - Ponte Vedra Concert Hall            
Thu. 02/26/26:              Clearwater, FL - Ruth Eckerd Hall
Fri. 02/27/26:                Orlando, FL - The Plaza Live
Sun. 03/01/26:             Ft. Lauderdale FL - Au-Rene Theater at at Broward Center For The Performing Arts  

FOR MORE INFORMATION, VISIT:      hackettsongs.com  

Steve Hackett announces several exclusive Florida dates in 2026

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Episode Transcript

Speaker 1 (00:04):
Hi, you live done to censure w for se Wow
cra Young.

Speaker 2 (00:12):
Ro This is the pipe Man here on the Adventures

(00:48):
of Pipe Man W four C Y Radio. And I'm
very excited about our next guest because you know, our
main studio where I'm at right now is in South Florida,
and this is one of the most amazing musicians that's
going to have some very special tour dates exclusively in
several Florida locations. So let's welcome to a show. Steve Hackett.

(01:11):
How are you?

Speaker 1 (01:12):
Yeah, very well, thank you. Nice to be talking to you.

Speaker 2 (01:15):
How are you doing? And I'm doing great. You're going
to be down here in Florida soon. That's going to
be pretty fun. So tell us a little bit about
those shows you're doing here in Florida.

Speaker 1 (01:26):
Sure, well, it's going to be a kind of best
of Genesis and and solo stuff, so I'm looking forward
to doing that. It'll be the first dates with two
new members of the band, one guy i've worked with before,
Felix Lehmann, who's germaned from from Berlin, and a new

(01:48):
keyboard player, Lali Larson from Sweden, so it'll be one
of three Swedish guys. I've got in the band nice.
These will be the first dates we're doing with him,
so those guys have worked together before. I thinking a
band called Agents of Mercy, the Natsil and Swedish, Jonas,

(02:09):
Ryan Gold Swedish and now Lally Lawson. Kind of a
United Nations of a band, you know. I've had people
from the UK, from Europe, from everywhere, and later in
the year I get to work with guys in South

(02:29):
America and Hungry. I'm going to be working with guys
from Hungary again soon. But the touring band that I'll
have will be essentially my regular touring band, but with
the exception of Roger King, who's officially retired now. He says,

(02:51):
but maybe maybe he'll he'll keep going doing classical stuff.
I don't know. I think his first love is his
classical news, although he's done scores for films such as
A Cliffhanger and the Name of the Father, and I'm
very sorry to see him go. But I'm working with

(03:12):
new guys who happened to be brilliant.

Speaker 2 (03:16):
Sometimes you guys bring a little more spark sometimes too well, that's.

Speaker 1 (03:21):
Right, yes, I think you know that the level of
enthusiasm from guys I'm working with in the studio wouldn't
necessarily be the same guys that I'm working with live.
I'm working with an Italian keyboard player called Ricardo Romano
in the studio at the moment, and he's doing wonderful things.
It's rather wonderful. I'm reconnected with Nick Magnus as well.

(03:43):
We're going to be doing some things in the future.
I did lots of albums with him back in the day.
A few years after I left Genesis, I was working
with Nick. We were doing many albums together, so there's
a kind of continuity. But I think British music has
always been ambitious to include as many instruments and unlikely

(04:08):
instrumentation as much as possible. So I think we've always
orientated towards groups that can become orchestras that travel wander
off into places such as Azerbaijan, India, instruments from these
places to have that kind of exotica. In other words, rock.

(04:34):
Maybe it's a little bit like or cinematic orchestral plus rock,
so that these atmospheres are interchangeable with each other. I
owe a lot to film music. I think my style
is probably hitting more towards film music than anything else.
So if mister Demil wants to give me a call,

(04:58):
that's fine, or his grandson indeed.

Speaker 2 (05:03):
Very nice. I love hearing this because it is kind
of cool. I think when you can make music that
comes from like all over the world, because there's so
many different influences that can come into it to make
it unique.

Speaker 1 (05:18):
Yeah, I think so. You know when you think about
the Russians with all the political suppression and all of that,
coming up with this wonderful romantic music and all the
experimental stuff as well, so those guys could really orchestrate
and came up with great melodies. I suspect the weather
had something to do with it. You know. You know

(05:40):
why did England have Shakespeare? It's probably because he was
stuck in doors because the weather was so awful.

Speaker 2 (05:44):
I say that all you know, that's it.

Speaker 1 (05:48):
But you know, hey, Florida, of course, yeah, we all
long to escape to Florida. That's what we dream of.

Speaker 2 (05:56):
Well you left, speaking of weather, like, I go to
the UK twice a year to do festivals coverage over there,
and I love it there and I love it everything
about it except the weather. It's like, yeah, man, I
would I had one in a festival from our say
you should move over here so you could do all
the festivals, and like, yeah, I would if the weather

(06:18):
was different. It's like polar there, know exactly.

Speaker 1 (06:22):
Well, at the moment it's been I might be doing
England a disservice. But the reality is it has been
running for days, if not weeks, and every day I'm
going out, I'm feeding the animals and it's got to
be there's the food on the work ground, get it quick, guys,
because otherwise it's it's gonna be soggy in the extreme.

(06:45):
So yeah, yeah, it's the downside of the UK. It's
got a lot to recommend it, believe me, totally the UK.
On a sunny day, London is a wonderful place. But
nobody comes to London for.

Speaker 2 (07:00):
The weather, that's for sure.

Speaker 1 (07:03):
Yeah, but that party.

Speaker 2 (07:07):
But I do agree with that philosophy with the music
because I think about it. You know, what do you do,
like I'm originally from New York and New Jersey, what
you do during the winter, you basically hibernate. So when
when you hibernate, that's when your creativity can come out.

Speaker 1 (07:24):
Yes, I think so it's always been the case. You know,
why have I spent so many hours pouring over a guitar? Yes, absolutely, England.
England fails you on so many levels, most of which

(07:44):
are are ye had to do with the Yeah, the
conditions we're supposed to be going out tonight, you know,
so it will be Yeah, you go out with an umbrella,
you go in the car, and you're trying to avoid
the floods and had all of that. We've been working hard,
the team have been working hard at home. So I've
got to take him out to dinner.

Speaker 2 (08:05):
There you go.

Speaker 1 (08:06):
That has to be done. Yeah, you know, it's it's
it has to be born with with you know, with
with grace, the the terrible, the terrible weather here. But
you know, you guys have got it made over there.

Speaker 2 (08:23):
It's in some ways you have a choice.

Speaker 1 (08:27):
You have a choice of weathers and seasons within within
the borders.

Speaker 2 (08:32):
Well, I think it's like I think the United States
is basically should be more like Europe because each state
does have, like you said, different weather, different cultures, different
types of people, different geography. It's kind of the same thing.
It's like it's wild to me when I like drive

(08:53):
all over Europe that to me, it's just like I
wouldn't even know I was going into another country except
I saw the language change.

Speaker 1 (09:00):
Yeah, yeah, it's it's funny, you know. And you watch
the news every day and and you hear that the
Greenland might become part of New Jersey. I mean anything,
anything could happen, all right, Oh my god.

Speaker 2 (09:19):
It is a wild when you get to our stage
of life. It's a pretty wild world that we live in.
When you think about, like I think about stuff that
happened in the eighties that I thought probably wouldn't happen again,
and I think we're kind of there again in the eighties.

Speaker 1 (09:36):
It's like well yeah, yeah, yeah, you know, it's we
live in interesting times and nobody can really predict what's
going to happen tomorrow.

Speaker 2 (09:46):
No, But it creates great music though, because like I think,
if you take some of the music from seventies eighties,
you could apply it to today just as well. Well,
you know, and like list just like the weather if that,

(10:07):
If you're writing music, it comes from your experiences. After
there's a lot of experiences going on to write about.
It makes for a lot of creativity.

Speaker 1 (10:16):
Well, I think so over the course of a lifetime,
you know. You know, when I was starting out, I
was buying guitar records, you know, at the age of nine,
I think and and I would buy all these guitar records,
you know, Dwayne Eddie and the Shadows and stuff that
all sounded like the Ventures. And then it wasn't really

(10:40):
until I heard the Rolling Stones version of I Want
to Be Your Man that I finally heard a guitar
that ripped. And I always knew that it could somewhere
in the back of my my, you know, my esp
somewhere back there. Even as a kid, I thought this
instrument should rip, and now it does, of course, But

(11:02):
then you know, once you've achieved that. I mean, I
don't know about you, but I mean I was a
harmonica player ten years before I was a guitarist, and
then having played for years, when I was sixteen, I
saw Paul Butterfield playing harmonica and I thought, I don't
know anything about guitar. I don't know a thing about
harmonica playing because he's reinventing the instrument. The sound of

(11:24):
it was so powerful, so powerful, just incredible. So I've
been I did do a blues album at one point,
which probably sold least well of all the things that
i'd done, classical things, proggy things, etc. But there's something
something about it, you know, of the direct contact of

(11:49):
that other instrument that I trained to do and within
a blues context. I like it very much. But I'm
also working on the idea of a sort of a
Middle Eastern influenced blues harp sound. I believe that's possible.

(12:09):
It's in the margins of what's what's possible to create
an instrument that people are not necessarily going to recognize,
but that I can drive. I can handle shoving it
through some of the stuff that I I reserve for guitar,
usually an angle lamp, an old I think it's a

(12:30):
fifty seven. I've got the one that looks rather like
a gun. I wouldn't take it on on a plane.
You know they're going to stop, yeah, stand away from
the microphone.

Speaker 2 (12:43):
So you know, I actually get that. Like when I
go to travel for doing coverage at festival damp all
my equipment, they always stop me like, what's this exactly?

Speaker 1 (12:56):
Yeah, it's a microphone. Yeah, yeah, yeah, we've heard all
that before. It's it's a harmonica. Yeah, what do you
do with it? You know where you're blowing to it
and that's what you do. Yeah, it's it's the most
portable instrument you can possibly imagine, right, But there's not

(13:17):
too many gigs out there for even great harmonica players.
Stevie Wonder usually does it for everybody.

Speaker 2 (13:22):
So yeah, he was. He was definitely great. John Popper
of Blues Traveler, it's pretty great.

Speaker 1 (13:30):
Yeah, Charlie Mussel White, Cool Butterfield, Little Water Williamson. Yeah,
they all have their own style, and.

Speaker 2 (13:43):
You know what's it's interesting. You know what's interesting too,
is that probably the most famous Sabbath song is one
with Ozzie playing harmonic and he's not even a musician.
He always said he wasn't a musician. He was right, Yeah,
But like my the most famous song as harmonica in it.

Speaker 1 (14:05):
Yeah, I mean I in the course of a lifetime,
I got to spend time with Larry Adler, for instance,
and I was asking him for tips on a harmonica,
even though I've been playing it all my life. I thought,
I'm not going to play harmonica in front of this guy.
He's got it down, you know, he can play rhapsody
and blue George Gershwin one hand on the piano one

(14:25):
hand on the harmonica, and that was a party piece
for him, and he did it very well. It sounded
really really lovely. He's gone now, but and Butterfield, so
you know, all my mentors in the harmonica world have
passed on. But then I'm going to mess around with it,

(14:48):
you know, put it through different octaves and.

Speaker 2 (14:52):
You can carry on the legacy of Noe.

Speaker 1 (14:54):
Yeah that's right, Yeah, that's right. You know. I think that,
you know, it's another stream to your bow. Really, if
you can play another instrument like that.

Speaker 2 (15:05):
I think, if you're a true musician, like uhy, experiment
with all different types of instruments, you know, and you
look at somebody like Prince and most people don't even
know that loved Prince that he could play. I don't
even know there were so many instruments he could play,
you know. And I think it's just it becomes like
a hobby. You know, let me see what other instrument.

(15:29):
You know. I'm not even good at instruments, and I
feel that way. Like I played drums, I played guitar.
I was never really good. But like I'll walk into
a store, I'll see a mandolin. I'm like, oh, maybe
I should try that.

Speaker 1 (15:42):
Well, there we are. I've played a mandolin. I'm not
brilliant at it, but with you know, patient attention to detail,
I think you can record something like that. And then
there's of course, you know, nylon guitar, classical guitar, flabko guitar.
It's all very very different to electric It's another instrument entirely, yes,

(16:03):
under the heading of guitar. But I've also played it's
a Vietnamese instrument which is like the koto dinshine, and
that's very, very beautiful. So I've recorded that to good
good effect. Again, I think you know, when you're recording,
it's you have the possibility to start and stop, pretty

(16:27):
much like singing. You know, if you think, yeah, you know,
I think I can I can do a better take
as a singer, even professional singers will say, yeah, I
think I can hit that note more squarely, or I
can put more into it. And I was I was
doing this yesterday. I was recording some vocal stuff and

(16:47):
finding that I could if you let yourself go, you
can really rip if you want, and it's really as
strong as any rock singing I've heard. But you have
to be prepared to you know, put the edge on that.
And I know a lot of people say you can't sing,
but actually you can whisper, and you can shout and

(17:10):
scream and all of those things are different voices that come. Yeah,
the same voice box here. So you can do that
and you can learn to control it. It can be learned.
Peter Gabriel was saying this years ago. He was saying,
I believe singing is possible. He said, he said, if
I can do it, then then anyone can do it.

(17:32):
Here we are. You got it from the horse's mouth.

Speaker 2 (17:35):
Oh there you go. I love hearing that because I
think we need more art in the world anyway, because
that's the ultimate uniter and it's the ultimate therapy. And
like so I think everybody should be able to exercise
that or well, I agree, you.

Speaker 1 (17:52):
Know, you've got to be able to bring the world together.
If we can get everyone singing off the same page,
if not the same hymn sheet, then I think the
subjext of music, of course, is to re energize people
and heal In some cases. It's very very powerful medicine,

(18:13):
which is why we're involved with it. There's so much
to it. I'm always telling the story of if you
read any of the books that were written by Oliver Sachs,
the doctor, the guy who basically wrote Awakenings, which became
the movie. These sort of studies of the human mind

(18:33):
and the outer limits of the diseases that people can
suffer from. One woman had to think called akinesia one
of his patients. She would become frozen and she couldn't
move until she heard a piece of music that moved
her emotionally, and then there was a direct correlation between
her ability to be able to move physically having heard

(18:55):
something which moved her emotionally. So if that isn't medicine,
I don't know what is.

Speaker 2 (19:01):
No doubt of course, you know listen, I actually have
had this idea recently that we should have a music
festival that's for the whole world, and the whole world
it has to attend, and then we could just work
out all our problems.

Speaker 1 (19:17):
Well, that would be really good, wouldn't it. You know
at the Beatles kind of did that with all your love.
You know how many million subscribers there were. You know,
if you had a TV you tuned into that channel,
and there I was sitting at home, black and white
TV watching this stuff going on, and it seemed like

(19:41):
the center of the world and the most important thing
possible was that concert. Everyone was tuned into it, and yeah,
there's the Moonshot, you're going to be there for that,
a few other world events. But it's beyond your favorite

(20:02):
soccer team winning. It's beyond it's beyond sport. It's somehow. Yes,
there's this song and everyone's in it. A piece of
music that features so many other snippets of music as well. Yeah,
that kind of I guess in a kind of pastiche

(20:25):
a parody kind of setting. But it doesn't even start
off with the Beatles. Starts off with French national anthem
and lamasiers, you know, and wanders off into in the
mood and all the rest. And music ought to be
that free once again, to be able to have that

(20:47):
that confidence. If you've got the world's ear and all
the eyes of the world are on you as well,
you can do that kind of thing. But I can
hear other meusicians perhaps listening to the thing you were
world music was. It was a lot different than they
could do what they liked because they were the Beatles. Well,

(21:09):
you know, it's like, don't don't dream it be it.
Let's let's you know, I want to. I want to
hear your wildest fantasies musically, because you know, it can't
go on just being you know, this one horse trick
and down home and yeah, mating ritual based and all that.
Hey we've done all that, you know, come on, let's

(21:31):
have some new stuff. Otherwise it's always going to be
movies that are going to give you the new music
because they are with a winning producer, always allowed to
do so. But you know, I think, you know, rock
formats has become very constrained.

Speaker 2 (21:53):
I say, like nowadays it's a lot of rock music
has to have this like formula that that that they
have to apply to it. Where there is no formula.
I think bands like the Beatles like made the formula.

Speaker 1 (22:08):
Well that's right, yeah, you know, and you should be
allowed to stretch out and do what you want. Music
was surprise and music that's inclusive and has surprises. If
music doesn't have surprises in it, then I can't see
why it's worth listening to.

Speaker 2 (22:26):
So I think about the greatest bands, like especially from
like the sixties and seventies, that they evolved throughout their
whole career. They were never just one genre. You can't
most of the bands from them, you can't pinpoint them
to one genre.

Speaker 1 (22:42):
I think you're absolutely right. The pan genre approach is
the way forward. So if we all adopt the mantle
of being character actors in music, we can wander into
unfamiliar territory. But equit that was reasonably I think that's
that's the main thing. And and why not. You know,

(23:05):
I was writing suddenly the other day that was in
the style of early Danny k and I was thinking,
I wonder if I can get away with this or not,
you know, but it was just like a nonsense song,
and I thought, well, this is the kind of stuff
that I listened to when I was a kid. This

(23:27):
was the stuff that was on on radio, a lot
of comedy songs. But you know, but but we loved
them for that. That was.

Speaker 2 (23:41):
It's the simplicity, like we want to escape life, and yeah,
life is complicated, So how we escape life?

Speaker 1 (23:50):
Yeah?

Speaker 2 (23:50):
Music?

Speaker 1 (23:51):
Yeah that's it. So you know, we're at the point
where AI can do it all anyway. So the game's up,
so you might as will change the game, because if
you don't, you will be caught out. Move on my.

Speaker 2 (24:05):
Friend, I totally Meanwhile, does it blow your mind that
you're doing fifty fiftieth anniversary? Yeah, I've got am lives
down on Broadway.

Speaker 1 (24:19):
I mean well as I say, you know, yeah, I
sort of did whole albums. I was doing the whole
of Setting In by the Pound, the whole of Fox Trot,
maybe half of ladbat Down and Broadway and future stuff.
I'll be doing a best of cherry picking across all

(24:41):
of Genesis stuff and my own stuff. And to be
able to serve up the best with I like to
think of it as an incredible band I have with
extraordinary virtuosas. It's a little bit like talking to our
bass player, Jonnaesi says, you know, you've got to have
the rail Madrid. You know you're talking about soccer. You

(25:04):
know the best players are rail adrifts of those who
were unfamiliar with l You need that in music. You know,
this team has to be it has to be the
best players. And I've arrived at that point. I've got
the best players who are incredible virtueos. Mean, any one
of them will blow you away tomorrow. You know. They
can all hold the floor and do solos. And they

(25:26):
were all incredible. So yeah, they've got chops to die
for for sure. I remember a time when there was
you know, a Mahabis New Orchestra where you know, jazz
at that point had become extremely fashionable because they were
boring from rock. So there were you know, great jazz players,
but they were doing it with rock sensibility. So whatever

(25:50):
you're going to say, I'm sorry I interrupted you.

Speaker 2 (25:53):
Oh no, this is all about you. Who cares what
I have to say? Well, it's about well, it does
blow my mind, and fifty years of anything, like anything
in my life, I'm like, oh, that was fifty I
mean fifty years ago. Did you think that you'd be

(26:15):
sitting here now doing some shows in Florida as a
fiftieth anniversary?

Speaker 1 (26:21):
No, no, exactly. Yeah. I mean I started out professionally
doing music in nineteen seventy one when I joined Genesis.
I've been with a band called Quiet World a year
before that, and we've done an album together. But I've
been trying to make music since I was two years old,
ever since my father had a harmonica and he gave

(26:44):
it to me and he didn't get it back, you know,
that was the thing. So ever since I was three
or four, I was playing Scotland the Brave, Oh Susannah.
What was my little repertoire in those days. Yeah, there's
one other. I think God Saved the Queen. Yeah, extraordinary stuff. Yeah,

(27:07):
that was a few national anthems in there. I think
Yellow Rosa, Texas. I seem to like that one too.
I had no idea where Texas was, where that came from,
where was the runaway train all of that. But you
hear those early kind of country tunes and cowboy tunes
and they still sound great. I've still got a soft

(27:28):
spot for Roy Rogers and a four legged friend, all
of that. I'm right there. Had it influenced my dad,
and he influenced me with this stuff so long before
I'd heard Tchaikovsky or Bark or any of those guys.

Speaker 2 (27:44):
And see, that's the key. Everything you're saying about is
like it doesn't matter as long as it's music. You know,
there's good music in every genre you know, and you
just explore it.

Speaker 1 (27:57):
Yeah, and whether it's instrumental or vocal or whatever it is,
it really energizes people, brings people together, heals people, does
all sorts of magical things. So I definitely feel. I mean,
I'm in the right profession. It's most people have to
work for a living. I get to play for a living,

(28:19):
and that's a privilege and I don't forget it for
one single day.

Speaker 2 (28:25):
And I love when somebody totally has passion for what
they do, because in this business, if you don't have
passion for music, it's the wrong business, because that's the
best part of it.

Speaker 1 (28:36):
You know, absolutely, yeah, it's it's it's amazing, it's absolutely wonderful.
And of course, you know, I had all my heroes
back then, and I see people now who I think
are incredible players and singers, and and Jimmy Webb, of course,

(28:57):
who somebody gained something. And he wrote a little note
to me, and I was reminded of the days when Genesis,
very early early years, we were all asked to give
our favorite single when it was five of us and
four of us without conferring all Joe's, Richard Harris's MacArthur

(29:20):
Park and we hadn't conferred, but we were all on
the same page.

Speaker 2 (29:27):
That's amazing.

Speaker 1 (29:29):
So you know, I think he happens to be the
world's best living songwriter. And I'm sure that Glenn Campbell
would probably have agreed with me. And the stuff he
did with our Gulf Uncle is just to die force.
So that's really wonderful. Wonderful album called water Mark, which

(29:51):
was a follow up to Breakaway, should have been a
huge hit. Whenever I play it to musicians, they say,
I must have a copy of this album. It's beautifully produced.
Funny enough, I was there in La looking at Cherokee
Studios when the studio manager, Colin Marton I think his
name was interrupted Art golf Uncle when he was recording

(30:16):
this song. I mean, how embarrassing is that he's recording
this thing that was to become one of my favorite albums,
and there it was, how dare you interrupt? You know
that to this bretain this limey he wants to read
the studio but hey, sorry, you know we're just having

(30:37):
a look in here, you know, yeah, yeah, carry on, fine,
you know he could have been in the middle of
Jesus knows what, you know, right right? My My only
problem is in one minute I have to do another zoom.
Well I mustn't, I mustn't.

Speaker 2 (30:57):
Everything we need to.

Speaker 1 (30:58):
Cover so fantastic talking.

Speaker 2 (31:02):
A pleasure in mine, right, absolutely and hopefully well you know,
you'll have a lot of fun here in Florida, and
everybody you check out the notes and you'll find the
dates and how to get tickets. And thanks a lot
for making us great music for all this time. Thank you,

(31:22):
thanks for being on the Adventures of pinpe Man.

Speaker 1 (31:25):
Thank you. My floral shorts are ready for Florida in
the sunshine.

Speaker 2 (31:29):
There you go, you got it.

Speaker 1 (31:31):
Hi, there, this is Steve Hackett. You're listening to the
Adventures of the pipe Man on W four c Y Radio.

Speaker 2 (31:45):
Thank you for listening to the Adventures of plate Man
on W for CUI Radio.