{"id":6106,"date":"2026-07-03T09:15:57","date_gmt":"2026-07-03T09:15:57","guid":{"rendered":"https:\/\/theconcertwitness.com\/?p=6106"},"modified":"2026-07-05T16:42:00","modified_gmt":"2026-07-05T16:42:00","slug":"pat-metheny-ljubljana-concert-review-side-eye-iii-plus","status":"publish","type":"post","link":"https:\/\/theconcertwitness.com\/index.php\/2026\/07\/03\/pat-metheny-ljubljana-concert-review-side-eye-iii-plus\/","title":{"rendered":"Pat Metheny – The Sound of a Living Legend"},"content":{"rendered":"\n
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As the audience gradually filled the stone auditorium of Kri\u017eanke for the opening night of the 67th Ljubljana Jazz Festival<\/a>, anticipation grew. Pat Metheny<\/a>‘s return to Ljubljana was one of the festival’s most eagerly awaited performances, yet before Metheny or his band appeared on stage, the first sounds of the evening came came from within the audience itself. A layered percussion dialogue emerged from among the audience, gradually making its way toward the stage. It dissolved the usual boundary between performers and listeners before the band had even assembled, creating an immediate sense of shared experience. It was a fitting beginning to an evening built around collaboration and musical dialogue.<\/strong><\/p>\n\n\n\n

Opening the 67th Ljubljana Jazz Festival, Metheny’s Side Eye III+<\/a><\/strong> also perfectly reflected this year’s festival theme of intergenerational collaboration. Conceived as a project that brings younger musicians into conversation with one of jazz’s most influential voices, Side Eye does not simply revisit familiar repertoire. Instead, it places newly written compositions alongside music spanning more than five decades of Metheny’s career, allowing both to evolve through the individual voices of the current band.<\/p>\n\n\n\n

Joined by Chris Fishman on piano and keyboards, Joe Dyson on drums, bassist Jermaine Paul and vocalist-percussionist Leonard Patton, Metheny presented a performance lasting well over two and a half hours that moved seamlessly between new material from Side Eye III+<\/em> and compositions that have become part of the modern jazz repertoire. Despite being the undisputed focal point of the evening, Metheny never projected the authority of a veteran leading younger musicians. Instead, he seemed fully immersed in the ensemble\u2014less a bandleader directing from the front than a musician enjoying the creative exchange, shaping its direction while leaving ample space for every member to influence the music’s character.<\/p>\n\n\n

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Reinventing Familiar Ground<\/h4>\n\n\n\n

Following the atmospheric percussion introduction, the band launched into the new composition In On It<\/em>, immediately revealing the aesthetic that would define the evening. Rich chordal layering, carefully shaped dynamics and balanced group interplay created an expansive sonic landscape over which Metheny unfolded one of his signature improvisations. Few guitarists construct solos with such architectural clarity; each phrase naturally leads to the next, gradually increasing intensity without ever sacrificing melodic direction.<\/p>\n\n\n\n

Equally important was the contribution of the rest of the ensemble. Leonard Patton’s wordless vocals recalled the unmistakable vocal textures of the Pat Metheny Group while remaining an integral part of Side Eye’s own musical identity., while Chris Fishman’s imaginative keyboard colours constantly expanded the harmonic palette. His synthesizer textures flowed naturally into lively exchanges with drummer Joe Dyson, whose remarkable control of dynamics became one of the defining characteristics of the concert.<\/p>\n\n\n\n

Bright Size Life<\/em>, now widely regarded as a modern jazz standard, illustrated the philosophy behind Side Eye perfectly. Rather than preserving the composition as a museum piece, the band treated it as living repertoire. Jermaine Paul’s lyrical bass improvisation extended the conversation initiated by Metheny, while the ensemble continually reshaped the music through subtle rhythmic and harmonic shifts.<\/p>\n\n\n\n

Newer compositions such as Don’t Look Down<\/em> demonstrated that Metheny’s recent writing remains closely connected to the lyrical qualities that have defined his music for decades. Built around a flowing three-quarter pulse coloured by understated blues influences, the piece gradually expanded through patient ensemble interplay before dissolving into an almost whisper-quiet conclusion\u2014a reminder that this band’s greatest strength often lay in restraint rather than sheer virtuosity.<\/p>\n\n\n\n

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A Band That Constantly Changes Its Shape<\/h4>\n\n\n\n

One of the evening’s greatest pleasures was the band’s ability to transform its identity without disrupting the overall musical narrative. At various points the quintet became a trio, then a duo, before expanding once again into a richly layered ensemble.<\/p>\n\n\n\n

Returning to its original Side Eye trio format, Better Days Ahead<\/em> unfolded at a noticeably more relaxed tempo than earlier versions, allowing new details to emerge from the interplay between guitar, keyboards and drums. Fishman’s use of Rhodes and fretless bass textures created an unusually warm sonic blend, while Timeline<\/em>, written by Michael Brecker, transformed into a hard-grooving Hammond trio showcase driven by Dyson’s swinging pulse.<\/p>\n\n\n\n

When the full band returned for Make a New World<\/em>, a ballad from the new album, the emphasis shifted once again toward lyricism. Metheny’s melodic guitar phrasing floated effortlessly above the ensemble, while Fishman’s synthesizer solo introduced a contrasting emotional colour, its sustained lines unfolding over a persistent ostinato eighth-note pulse that gave the music both stability and forward momentum.<\/p>\n\n\n\n

The audience responded enthusiastically when rhythmic handclaps announced First Circle<\/em>, one of the defining compositions from the Pat Metheny Group catalogue. With Metheny on acoustic guitar throughout, the full-band arrangement retained its familiar energy while allowing Fishman’s lyrical piano playing to subtly evoke the spacious harmonic language long associated with the late Lyle Mays\u2014not through imitation, but through an understanding of the musical aesthetic they helped create together.<\/p>\n\n\n\n

Memories, New Perspectives and Four Encores<\/h4>\n\n\n\n

During one of the evening’s few spoken moments, Metheny reflected on his previous appearance in Ljubljana almost exactly thirty-five years earlier, recalling that his 1991 concert had taken place just days before Slovenia declared independence. It was a brief anecdote, yet one that established an unexpectedly personal connection between the artist and the city.<\/p>\n\n\n\n

The second half continued to demonstrate the remarkable stylistic breadth of Side Eye III+. Gospel influences coloured Urban and Western<\/em>, while M\u00e1s All\u00e1 (Beyond)<\/em> began as an intimate solo performance on nylon-string guitar before gradually blossoming into a richly textured vocal arrangement with Patton. Later, the duo performance of Phase Dance<\/em>between Metheny and Fishman revealed just how comfortably the music could exist in its most stripped-down form. A further shift in sound world came with Ornette Coleman’s Round Trip<\/em>, performed as a duo with drummer Joe Dyson. Beginning with an extended drum solo, the piece opened in near-abstract rhythmic space before Metheny entered on distorted acoustic guitar, radically altering the texture and introducing a harsher, more angular sonic colour that contrasted sharply with the lyrical material heard earlier in the set. It was one of the evening’s most striking transformations of instrumental identity, reframing an early Metheny-era composition through a completely different timbral lens.<\/p>\n\n\n\n

By the time Zenith Blue<\/em> concluded the main set with its contemporary rhythmic pulse and shimmering guitar synthesizer textures, the audience clearly wasn’t ready for the evening to end. Neither, it seemed, was Metheny himself.<\/p>\n\n\n\n

Over the course of four encores, he revisited different chapters of his remarkable catalogue. Alone with his baritone guitar, he seamlessly connected his recent arrangement of America the Beautiful<\/em> with a beautifully reimagined Last Train Home<\/em>. The full band then returned for Michael Brecker’s Song for Bilbao<\/em>, before Metheny once again appeared alone, weaving together themes from Minuano (Six Eight)<\/em> and In Her Family<\/em>. Taken as a whole, this sequence of encores could also be understood as a form of wordless reflection on ideas of place and identity\u2014moving from America the Beautiful<\/em>and the earlier ballad Make a New World<\/em> in the main set, toward the brief quotation from This Is Not America<\/em>, before dissolving back into his own melodic language. The concert finally reached its conclusion with Are You Going With Me?<\/em>, whose familiar melody gained fresh emotional weight through the chemistry of this current ensemble, with Metheny\u2019s guitar synthesizer once again reminding the audience of one of the most distinctive elements of his sonic identity.<\/p>\n\n\n\n

Side Eye III+ demonstrated why Pat Metheny’s music continues to feel contemporary after more than five decades. Rather than preserving his catalogue as a fixed legacy, he invites younger musicians to question it, reshape it and ultimately make it their own. Throughout the evening, there was also a sense of Metheny\u2019s enduring curiosity and almost playful engagement with the music, combined with a sharp focus and energy that never seemed diminished by time. In the context of this year\u2019s Ljubljana Jazz Festival, where the theme of intergenerational exchange is understood as a process of mutual learning, the concert suggested that such exchange is not one-directional. If anything, Metheny himself remains deeply open to it\u2014treating music as something that constantly adapts to the present rather than belonging to the past. That openness was not abstract or conceptual, but audible throughout the evening itself.<\/p>\n\n\n\n
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As the audience gradually filled the stone auditorium of Kri\u017eanke for the opening night of the 67th Ljubljana Jazz Festival, anticipation grew. Pat Metheny‘s return to Ljubljana was one of the festival’s most eagerly awaited performances, yet before Metheny or his band appeared on stage, the first sounds of the evening came came from within […]<\/p>\n","protected":false},"author":1,"featured_media":6116,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[30],"tags":[],"class_list":["post-6106","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-concerts"],"yoast_head":"\nPat Metheny Ljubljana concert review: Side Eye III+ opens 67th Jazz Festival<\/title>\n<meta name=\"description\" content=\"Pat Metheny Ljubljana concert review from the 67th Ljubljana Jazz Festival at Kri\u017eanke, featuring Side Eye III+ and a two-and-a-half-hour set blending new music and classics.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/theconcertwitness.com\/index.php\/2026\/07\/03\/pat-metheny-ljubljana-concert-review-side-eye-iii-plus\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Pat Metheny - The Sound of a Living Legend\" \/>\n<meta property=\"og:description\" content=\"As the audience gradually filled the stone auditorium of Kri\u017eanke for the opening night of the 67th Ljubljana Jazz Festival, there was a palpable sense of anticipation. 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