Triumph have largely been absent from the concert scene for more than two decades, with the exception of a pair of reunion performances in 2008. Now the Canadian hard rockers are developing a high-tech concept that would bring their music back to the stage in either 2023 or 2024.
Triumph drummer and vocalist Gil Moore, a founding member of the group, revealed the news during an exclusive interview with UCR to discuss Triumph: Rock & Roll Machine. The new documentary from Banger Films, which has earlier released movies focusing on Ozzy Osbourne, Rush and Alice Cooper, premiered at the Toronto International Film Festival on Friday (Sept. 10).
Moore says the idea that he’s developing is a “mixed-reality concept,” explaining that it is “sort of holography, but not in the traditional sense.” The concept, currently being branded as MXR Vision, would allow fans to finally hear classic AOR staples like “Lay It on the Line,” “Hold On” and “Magic Power” in concert once more.
Reunion performances at the Sweden Rock Festival and Rocklahoma in 2008 were set to be accompanied by a larger tour, but Triumph’s plans fell apart because of the economic meltdown, as bassist Mike Levine earlier confirmed during a UCR chat. Fans have yearned for the trio to play together again ever since.
Moore has enlisted Paul Dexter to hopefully answer that call. Dexter, who collaborated with Triumph in the past on lighting and set design, has built an impressive resume of work with Paul McCartney, Osbourne, Elton John, Motley Crue and many others.
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Dexter and his company Masterworks Design were heavily involved with the hologram tours for both Ronnie James Dio and Frank Zappa. Moore saw the Zappa tour at its stop in Rochester, N.Y. and sat down to discuss the possibilities. “I’m not crazy about holograms,” he told the Dexter, “but the three-dimensional presentation – the holography, if you will – if you were able to deliver it on a better platform with more variables, I would like it.”
They have worked in tandem since then, with Moore leveraging the team of professionals at his studio and the production company Metalworks, as well “folks” at the public university and college level with research facilities to assist with “the science side of it.”
The audio, he says, will be “Mike, [vocalist and guitarist] Rik [Emmett] and Gil,” for the most part, sourced from live concerts that no one has ever heard before. “But the presentation would be more akin to a biopic movie combined with classic video,” Moore explains. “Combined with a combination of real effects as well as fake [ones] and magic.”
They’re still facing a few challenges, Moore admits. “Unlike a Vegas show – where it’s fixed and it’s the same thing every night, because it’s an installation – or Cirque du Soleil, this is something that’s going to travel on a one-by-one by one basis, through different styles of venues.”
He’s committed to figuring it out. “I know we’re not dead yet, but what the heck,” Moore laughed, recalling his initial conversations with Dexter. “It’s not something I can promise, but something I hope for Triumph fans down the road.”
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