About this episode
Robert John Godfrey, the visionary behind The Enid, has been crafting progressive symphonic rock since the late sixties, starting with Barclay James Harvest and later launching his own distinctive sound. Despite being seen as an outsider in prog circles, hes recently reissued his 1974 solo album, Fall of Hyperion, marking the start of a new year.
The Enid experienced a resurgence last year with fresh reissues, a new album, and a tour that reignited their wow factor after a long hiatus. Godfrey acknowledges past mistakes but feels reborn, now concentrating on spreading their message globally through captivating live performances.
Fans have remained loyal to The Enid through challenging times, a bond formed in 1980 when major labels pushed them towards generic rock, leading Godfrey to establish a direct-support model that keeps supporters close. Hes open about his struggles, including mental health battles, feuds, and regrets over past actions, yet he owns it all without a personal safety net.
Looking ahead, theyre set to perform at High Voltage Festival in July, blending classics like the Dambusters Theme and Land of Hope and Glory, even in the afternoon. The highlight comes on October fifteenth at Birmingham Symphony Hall, collaborating with the City of Birmingham Symphony Orchestra and a two hundred-piece choir for a highly theatrical event.
Godfrey asserts The Enid as pioneers of symphonic rock, attracting lifelong fans who sought sophistication over punk or supergroups. With young bands reviving progs spirit, hes optimistic, humbled by the enduring affection that keeps this English institution thriving.
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