The courage to choose the right moment, the dignity of a path that changes shape but never stops. Alan Reed, a defining voice in British Progressive Rock — from his early days with Abel Ganz to the heights reached with Pallas — speaks to PRJ in a candid, open-hearted interview. With a Parkinson’s diagnosis behind him and the farewell tour “The Last Dance” on the horizon, Alan walks us through the milestones of an extraordinary career: the painful yet clear-eyed decision to leave the stage, the return to the studio, and an undiminished drive to keep making music. Here is what he had to tell us.
Alan, you recently stated that it’s time to “put away childish things” and that there’s no point pretending to be twenty when you’re sixty. How has this philosophy influenced your decision to step away from live performance at this particular moment?
Ha well I suddenly feel old. Two years ago I was thinking how lucky I was that I ‘d got through a Career, kids, and the breakup of my relationship without having health worries. And along comes Parkinson’s. Just goes to show how random life can be.!!
Your Parkinson’s diagnosis in March 2025 was a turning point. How has the disease physically affected your ability to perform — such as the loss of use of your right hand — and how did it factor into the decision to stop now?
I haven’t been able to play for over year now, so I knew that I had to give that up!! I hoped I’d still have it in me to sing, but I realised through rehearsals that I just didn’t have the power any more. That my pitching was ‘imaginitive’ at the least particularly at the higher end. So I figured it was time to stop. Before I did myself any damage
You’ve mentioned that stress is an enemy to avoid at all costs for those living with Parkinson’s. How much did the logistical strain of touring weigh on your decision not to schedule any further live commitments beyond the next six months?
It was really hard to do to organise the band. Even with my manager, Steph, and the band under the careful eye of Mark (Spencer). I found myself getting very tired very quickly. I used to be able to do this and keep a day job going too!!
International dates, including the planned show in Veruno, Italy, were cancelled citing stress, rising Brexit-related costs, and the situation in the Middle East. Was it painful to have to give up the European audience for these external reasons?
It wasn’t easy. I thought about it long and hard. But it became impossible to scale up for a one-off gig. And I’d invited load of people along to make its work. Including Clo from Lazuli and a couple of the Pallas guys along, but it was proving too complex for me. I even had Kalle from RWPL as stand in for Niall. I’m really sorry that it wasn’t to be.
“The Last Dance” tour touches on a small number of selected UK venues. What do you hope to convey to your audience at these final dates in Southampton, London, Sheffield, and Glasgow?
I really just want to say goodbye on my own terms. And I’m really fortunate that (a) I’m finishing in glasgow (where its all began) and (b) I have a decent geographic spread to do it. I’ve said no more after that because I didn’t want to prolong the agony of saying goodbye any more than I had to.
To address the physical challenges, you’ve brought in Neil Winton on guitar and Sunny on backing vocals. How would you describe their contribution in shaping the current sound of Daughters of Expediency?
Well Neil, I’ve known since uni days. And he was available! He plays much of what I did, though he’s added a third electric guitar as well. Sunny’s all over the album, so I’m really looking forward to filling out the sound with her. She’ll keep me right and cover up when I can’t quite manage, The band have been very supportive of me doing this. They’ve come on leaps and bounds in their playing. In fact at winter’s End I had a flashback to Niall abusing his guitar at the Marquee – and you can’t get better than that!!
The setlist features a significant tribute to Pallas, with around 45% of the material drawn from their catalogue. What was the challenge in rearranging these classics to make them feel like your own alongside Daughters of Expediency?
It was more of challenge playing them like Pallas in all honesty!! With all the best will in world they make them their own anyway. Jen, Tudor, Mark, Daren, Hen, Neil and Sunny just aren’t the same people as Graeme, Niall, Ronnie and Dek. Even when they play exactly the same notes! And I wouldn’t want them to be. They make everything new and special
The very last show will take place in your hometown, Glasgow, at the G2. What does it mean to you to close your live career at home, and what can you tell us about the involvement of special guest That Joe Payne?
I haven’t really thought about Joe’s involvement yet. I guess we’ll have him up at the end. Actually it was my partner, Anne, that suggested him. He’d been in Glasgow recently and had invited us to his show. Unfortunately we were away at the time. I’ve not really seen live so said yes as soon as she suggested him. He’s a great person to hang with, and he can certainly sing.
In 2022, shortly before returning to Scotland, you rejoined Pallas. What was it like to reconnect with Graeme and Ronnie in the studio to work on new material after so many years?
It was surprisingly easy tbh! Graeme offered me the chance to put some of my material on the messenger, but I though it would be wrong to do so. It was already so strong. I brought some focus – as well as my voice – to the proceedings. It was great being just a singer again!
The new album “Messenger” involved a complex production process. What were the main challenges in coordinating the recordings, also considering the logistical distance with Cambodia?
It was mostly the mixing of the album. Niall was very hands on throughout and the time difference meant we could discuss stuff while he worked on another mix. It was hard getting the right balance between the guitar and the keys but one thing they seem to have learned is that whatever holding the solos spot – as it were – had to be loud and clear. Whether it be vocals, guitar or keys.
Alongside “Messenger,” you’ve announced a second album, “Elemental,” expected around Christmas 2026. How do these two works differ in terms of themes and sound?
It’s now called ‘A Song for Tomorrow’ which is a cheery track that I’ve already sung along to. It ploughs the same furrow as the previous album – but if anything it’s even less cheery and bleaker. This is a good thing!
Despite the release of two new Pallas albums, the band has decided not to embark on a promotional tour. How do you experience this new dimension of being exclusively a studio musician?
It feels right to me – even before I got my diagnosis. Niall said first off that he wouldn’t be coming back from Cambodia _ and having seen him there, it makes perfect sense to me. Besides one of my red lines about rejoining was that I’d finally found a bunch of guys that made me smile as much as Pallas did, and I didn’t want to give that up. Funny how things work out.
During the live dates you’ll be promoting your third solo album, “Sky Thinking.” In what way do tracks like “First Responder” reflect your current state of mind or the experiences of recent years?
I have to says I thought that lyrically it’s moment had passed. But I now think it’s even more of the moment!
In addition to new material, a box set dedicated to your years with InsideOut Music is planned. What criteria did you use to select the material from that “golden period,” which includes albums such as “Cross and The Crucible”?
It includes most for the material we rereleased with Inside Out. It felt right me – not least because the previous box set made such a fuss over The Sentinel (good though that was)
Looking back at your discography — from the “With Ghosts” era with Mark Spencer and Jennifer Clark to the present — how do you feel your songwriting has evolved over time?
Well, I’ve certainly learned a few things. Most of all the importance of hooks in songs. I’ve certainly crammed a lot of ideas into my work. But it’s really hard doing it on your own. I was used to being part of a band. I had to learn to be guitarist, bassist and keys player without the luxury of another four people to tell me not to be so stupid!
Immediately after the tour ends, on September 18th, you’ll undertake a charity walk along the canals from Bowling to Leith. Following the success of the West Highland Way, how important is it to you to tie this farewell from the live scene to a social cause?
I think it’s easy for people to forget – both me and the reasons for jacking it in. That said it’s a very personal thing. It is mostly supported by these from the day job! Seems I did something right after all!!
You’ve stated that you’ll continue writing and recording for as long as you’re able. What are your artistic goals now that the pressure of live performance has been lifted?
I genuinely don’t know. Perhaps I’l give it a total body swerve. Who knows!!!
From your early days with Abel Ganz in 1984 to the present, you’ve lived through decades of British Prog history. What final message would you like to leave for the fans who have followed you throughout this long musical journey?
I’m genuinely sorry!! 🙂 It’s really good that people have stuck with me. I’ve changed, and the bands I’ve been a part of have changed too. I’ve never really thought about giving people ‘what they want”. That’s probably the reason for my continued presence. Sheer bloody-mindedness is what it is 🙂
Alan Reed‘s live journey will come to a close on stage, at home — but his mark on Prog will remain indelible. We are immensely grateful to Alan for the generosity, honesty, and complete openness with which he gave himself to our microphones at such a delicate and significant moment in his life. From the entire PRJ editorial team, we wish him the very best with “The Last Dance” tour and with every challenge — artistic and personal — that lies ahead. Thank you, Alan.
