Album review: NEAL MORSE BAND – L.I.F.T.

February 26th, 2026 by jason

InsideOut Music [Release date 27.02.26]

The announcements that the Neal Morse Band’s fifth album, L.I.F.T.’ would be released in 2026 came as a pleasant surprise to many fans of NMB (as they now style themselves). That was the result of the news that Mike Portnoy was rejoining Dream Theater because, surely that knocked all his side projects into touch? But Portnoy contacted Neal and fellow band members Eric Gillette, Bill Hubauer and Randy George to say there would be the chance of a small window of opportunity, in April 2025, when he could track drums for a new album, an opportunity enthusiastically taken by the band.

Conceptually, ‘L.I.F.T.’ continues NMB’s habit of spiritually themed story telling which will come as no surprise to those that know Morse’s deeply held Christian faith. While all the music here is credited to the band, it is his lyrics that take us on the protagonist’s journey, from that spiritual connection, though a loss of direction before closing with a rediscovery of his self-being.

First track, ‘Beginning’ sets the scene, an overture of sorts introducing the various musical themes that occur throughout and giving all the players a chance to shine, a majestic beginning indeed that segues seamlessly into ‘Fully Alive’. An insistent piano introduction and vocals shared between Morse, Hubauer and Gillette, the latter two trading solos mid song with subtle changes in feel depending on where we are in the narrative as our hero expresses his joy at being alive despite a trouble world all around him.

‘I Still Belong’, features an acoustic guitar intro and brooding vocal delivery from Morse, reflecting the beginnings of doubt while Psycho style strings and a minor key add to the darker atmosphere.

A short instrumental, ‘Gravity’s Grip’ follows which leads straight into one of the standout tracks on the album, ‘Hurt People’. Plenty of heavy riffing here along with twin guitar harmonies but, Eric Gillette is all over this with an angst-ridden vocal and a stunning lead solo.

Next up, ‘The Great Withdrawal’ and, lyrically, it is all becoming too much for our protagonist and he is looking for someone to blame, ‘It’s every friend that betrayed me. It’s the time they never gave me’. Another standout Gillette solo here as well!

A second short instrumental interlude, ‘Contemplation’ leads in to ‘Shame About My Shame’ with the main character now at rock bottom and an impassioned lead vocal from Morse. As Gillette’s guitar comes in there is an unmistakable Pink Floyd, circa The Division Bell feel, another great song that ends, musically, with a hint of hope for the future.

‘Reaching’ begins with a typical NMB/Spock’s Beard harmony vocal. A pretty straightforward rocker it is the point in the narrative where our protagonist is looking up, both literally and to his God and sees there is a way ahead. The uplifting theme continues into ‘Carry You Again’, Morse’s opening vocal over a strummed acoustic guitar before the rest of the band comes in with the piano taking the lead for a change of dynamic.

‘Shattered Barricade’ another short piece, this time with vocals, steers us towards the penultimate track on the album, ‘Fully Alive Part 2’. This revisits earlier lyrical and instrumental themes and delivers an impressive ending, with crunching guitars and soaring keyboards driven on and underpinned by a Portnoy prog masterclass.

Finally, the album closes with the longest track, the eleven minute epic, ‘Love All Along’. Lyrical retribution for our hero is spelled out by an emotional vocal before the expected build to a full band climax, with vocal harmonies, ethereal choirs, twin guitars and probably the kitchen sink thrown in for good measure.

I jest, of course. L.I.F.T. is a great album, as you should expect from such a talented bunch of musicians. They clearly connect and enjoy making music together and this will not disappoint any NMB, Spock’s Beard, Dream Theater fans. The mix, delivered by long term collaborator Rich Mouser, is superb. It gives space and freedom to everyone’s individual parts that allows them to live and breathe, while presenting a perfectly balanced overall sound.

All in all, it’s top stuff and a big thumbs up from me. ****

Review by Neil Pudney

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