Written by Steven Wilson returned to his progressive rock roots in 2025 with The Overview, an epic two-track concept album and a wow-factor tour. Somehow, he also managed to find time to remix Pink Floyd and a whole host of other rock and pop icons, while continuing work on his next studio album, tentatively set for release in October. He recently looked back and forward with Prog.
Congratulations on The Overview winning the Critics’ Choice.
This is an age of a million available online opinions and increasingly over the last 10 years or so, I’ve deliberately insulated myself from feedback to my work. The record company may say, “You got a great review in The Times,” and I tell them not to show it to me. So I’m only now starting to realise how the album was received. That’s the long answer to the question. The short answer is: That’s lovely, and I really appreciate it. Getting such validation from people whose opinions I respect is astounding, so thank you all.
A large chunk of 2025 was spent touring. How did that go?
It was the most joyful touring experience I’ve ever had. This is such a great band and I really enjoy playing the material we’ve created, and also the whole visual side of the show. It’s incredible to be at the centre of all that, and I say that with no arrogance as at times I’m the least important part of what’s going on.
Was the experiment of having stand-up comics as your special guests at the London shows successful?
You’re right, it was an experiment, but I thought it was great. I was slightly worried that people who’d travelled [from overseas] might not get the British sense of humour, but that didn’t seem to be the case.
What was your personal highlight of 2025?
Probably the three or four shows we did in South America. I get used to playing to “my audience,” which is people in my age group, progressive rock fans and very cerebral people. Going to Mexico City or São Paolo, we walked out in front of 7,000 people and a lot of them were kids. And they were as passionate about progressive rock – that term again – as the other audience I just mentioned.
It reminded me that this music does still appeal to young people. You know, this is not just music for old geezers. This is music that transcends.
What was your favourite record of 2025?
I really love LSD by Cardiacs. It could almost be a gateway to the band; it’s a little more polished than previously but these could be some of Tim Smith’s best songs. It’s such a shame he’s no longer here to see what was done with them.
I’m also into the band Geese, who made an album called Getting Killed, which is incredibly inventive. I’m talking about my own next record being anti-AI. There’s something about that in Geese’s music – everything sounds slightly shambolic. In a good way, obviously.
What about the albums you remixed for others?
I’m extremely proud of Pink Floyd’s Live At Pompeii. It was a pretty basic recording – four mono feeds – which didn’t present a whole lot of possibilities, but what an immense thrill to work with my favourite band of all time. When I saw the restored print of the movie at iMax with my soundtrack in Atmos, that was so thrilling. And when David texted to say, “Great mix,” that’s enough for me – I’ll take it!
There were quite a few of those remixes: The Rolling Stones [Black And Blue], Frankie Goes To Hollywood [Welcome To The Pleasure Dome] and even Phil Collins. There is no more 80s record than No Jacket Required, but getting to work on it… what a fantastic pop record.
Of all the musicians who passed in 2025, who were you saddest to say goodbye to?
I’ll say Brian Wilson, because there was a point in my life when I was absolutely obsessed with The Beach Boys. The era of Pet Sounds, Smiley Smile and 20/20 was so special to me. Those records made me much more confident as a singer because I realised you don’t have to be the best vocalist; you can layer your voice, add harmonies and overlap and multiply. Starting with albums like [Porcupine Tree’s] Stupid Dream, you can hear that coming into my music. Brian was the man.
What plans do you have for 2026, including the “anti-AI” record?
As usual, I’m very keen to make a record that’s very different to all the others. I know I say that every time, but it’s true. After The Overview, which was quite a lush, layered record, I decided I wanted to remain in the realm of the conceptual and large scale, but I want to get back to a more quirky musical vocabulary. I’m very keen on keeping the little quirks and imperfections.
Colin Edwin and John Wesley didn’t ask me beforehand – they were probably worried about what I might say
I play some instruments on the record that I’m not the greatest at, but I like the flaws in my timing and tuning. And that’s because we’re in an era where music is becoming increasingly perfect, in a way that’s not actually very interesting. My mantra for this record is, “Could AI have come up with it?” If the answer is yes, then I ditch it. And if I can say, “There’s no way on earth that AI could have come up with this,” then I keep it.
What about further activity from Porcupine Tree?
Yeah, absolutely, that’s possible. These days we get together a few times a year to develop ideas. Some of those are on the go, but I think of it as a slow process. That’s because the idea of just putting out the same things again is no longer really interesting to us. We’re trying to find a new take on the sound of the band.
Do you have a timeframe in mind?
Not really. Probably in 2027. Whether we’ll tour again is something I don’t know. At this stage we don’t need to do anything live. If we release some new music it’s because we want to. I know that sounds like an obvious thing to say, but the differentiation is important.
We’ve all got our own careers now, and the last thing we want to do is just repeat ourselves. When we come back to PT, the first question we ask is, “Have we anything new to say?” If the answer is yes, then great. And if it’s not, that’s also fine.
And talking of Porcupine Tree, what are your thoughts on your old bandmates Colin Edwin and John Wesley getting together under the handle of Voyage 35?
Oh, I think them playing a whole repertoire of that material sounds like great fun!
I’m not somebody who dwells on nostalgia. I know sometimes that’s what the fanbase wants
It’s nice to hear you sound so supportive.
Well, they didn’t ask me beforehand – they were probably worried about what I might say. I heard about it like everyone else through social media, but I texted to say that it sounds like great fun. If they need any of the old backing tracks then let me know, because I’ve still got them. It’s quite flattering to me that they would do that.
I guess if you’re not playing those songs, why shouldn’t they?
Well actually, I did play Voyage 34 (Phase I) on the last tour, but generally speaking I don’t just go out and play those songs. Maybe someday I will – who knows!
I’m not somebody who dwells on nostalgia, though. I know sometimes that’s what the fanbase wants, and there are times when it sets me at odds with those people. So in a way, having Wes and Colin doing it gets me off the hook a little bit!
The Overview is on sale now.
