The Cryptex live at Barnaby’s Blues Bar | Review

Live / Concert Review

The Cryptex · Barnaby’s Blues Bar

**The Cryptex** live at **Barnaby’s Blues Bar**

There are moments in a musician’s life when you walk into a room and immediately feel as though someone has turned the clock back thirty years. Not necessarily because the furnishings are particularly nostalgic, but because certain spatial arrangements bring back memories you thought you had long since filed away carefully in the archives of your musical past. When I walked into Barnaby’s Blues Bar yesterday evening, that was exactly what happened.

As a progressive rock and doom metal musician, I played quite a few stages with my former band Grief of God in the early to mid-Nineties. Although the term “stage” was occasionally interpreted rather generously back then. Sometimes all you needed was an empty corner, a power socket and the optimistic assumption that the drums and the audience would somehow work things out between them.

I have particularly vivid memories of a gig at the alternative Café Extrem, probably in Wolfsburg. A small, cosy establishment whose visitors had apparently not all been informed that a band would be performing that evening. The inevitable question about whether we could turn the drums down came during the soundcheck. Bear in mind: the drums were not even miked up. About the only remaining option would have been to suggest that our drummer play with cotton wool balls in future. Or take up a civilised game of chess instead.

In any case, the memories of that evening were still remarkably fresh when I took a closer look at the layout of Barnaby’s Blues Bar. The so-called stage turned out to be a slightly raised area normally occupied by tables and chairs. Between this improvised concert platform and the bar, there was just enough room for a row of bar stools and a narrow passage. Anyone hoping to stand directly in front of the band needed either exceptional anatomical abilities or a willingness to settle for a spot beside the stage or near the entrance. Ideal sightlines look rather different.

Now, Barnaby’s Blues Bar is certainly known for regularly offering good live music. Nevertheless, the spatial situation left me feeling somewhat sceptical. Anyone who has spent years on stage knows that small rooms can be acoustically very wilful indeed. Drums that eat every other instrument for breakfast, guitars that disappear somewhere between the wall and the ceiling, and vocals desperately trying to find their way through the sonic confusion. In short: the perfect conditions for unintentionally turning an excellent band into a badly organised wall of noise. And with a band like The Cryptex, that would have been particularly unfortunate.

Sound & Atmosphere

One Drumbeat That Dispelled Every Doubt

Fortunately, my initial scepticism proved entirely unfounded. A pleasing number of fans had already gathered shortly before the concert began. People who had clearly come specifically to see The Cryptex.

And then drummer Markus Kleiner delivered the first strike on his kit. A single hit was enough to tell me that these were people who knew their craft. What came through the PA was not an uncontrolled thunderstorm, but a remarkably precise, detailed sound, superbly adapted to the room. Even from my position beside the stage, the sound was excellent.

Regular concertgoers know the problem: beside a stage, you often hear mostly the direct sound coming off it. The drums clatter, guitar amplifiers develop a remarkable life of their own, and at best you are left with a vague impression of the overall mix. Not that evening. The tonal balance, the positioning of the PA and the interplay between the instruments worked exceptionally well.

Really, I should not have been surprised. The Cryptex have always been a band whose professionalism does not depend on the size of a stage. Together with their team, they demonstrated impressively that technical quality is not a matter of square footage. They had even fitted a carefully considered light show into this compact space. Small moving heads, sized to suit the limited stage area, created atmospheric accents without raising concerns that a musician might accidentally be flattened by a full-grown lighting fixture. Everything felt well thought out, and suddenly my initial scepticism had turned into genuine anticipation.

The Opening

Everglow

After a decidedly unconventional intro, best received with an indulgent wink, The Cryptex opened their concert with “Everglow”, a song released in 2025. An excellent choice.

Singer, bassist and pianist Simon Moskon began on bass and, together with his fellow musicians, made it clear from the very first moment that this was no after-work outfit providing background music for the next round of drinks. The performance was controlled, musically cohesive and yet refreshingly alive. “Everglow” provided a fine opening, giving the audience a chance to enter the band’s distinctive musical world.

The fans already present were, of course, immediately on board. But among the other guests, too, more and more interested glances were being directed towards the stage. Something was clearly happening here that went beyond the usual musical accompaniment to an evening in the pub.

Heaviness & Dynamics

Cobra

With “Cobra” from the album Nimbus, the musical approach then changed quite markedly. Anyone who had so far assumed that The Cryptex operated exclusively within the familiar territory of bombastic art rock and progressive rock was now politely but firmly invited to reconsider.

“Cobra” is one of those compositions that make the somewhat different character of Nimbus particularly apparent. Heavier metal elements, growls and clean vocal passages alternate, lending the piece an intensity that deliberately sets it apart from earlier releases. For me, this very stylistic openness is a major part of the album’s appeal. Live, the song developed an almost irresistible momentum.

Markus Kleiner worked his drum kit with a precision that occasionally brought to mind an exceptionally well-maintained machine gun. One with an unusually good sense of rhythm, admittedly. Simon Moskon moved confidently between the different vocal approaches, while The Entity created a remarkably dense soundscape on electric guitar.

The Entity, incidentally, really is the name of this mysterious guitarist, whose true identity appears to be a closely guarded secret. It is a little reminiscent of the American guitar virtuoso Buckethead, who created a stage persona all his own with a white mask and that famous upturned chicken bucket on his head. At least we now know who is beneath Buckethead’s disguise. With The Entity, the matter remains considerably more mysterious. Rumour has it that he comes from Texas. Though apparently not necessarily the Texas you will find on an ordinary map. His home state may exist in another dimension. Who knows? Either way, I would advise against asking him for his postcode.

Musically, however, there were no mysteries. The guitar work was precise, atmospheric and fitted beautifully into the overall picture. The lighting, too, supported the drama of the piece impressively. By now, at the latest, The Cryptex had captured the attention of the entire room. Whether you were a dedicated metal fan or usually preferred the gentler regions of progressive rock hardly mattered any more. The band had the place in the palm of its hand.

Melodies & Time Travel

Ribbon Tied Swing and When the Flood Begins

**Simon Moskon** live (Photo by Oliver Behrens - CC’n’G)

With “Ribbon Tied Swing” and “When the Flood Begins”, the concert moved back towards those musical regions in which The Cryptex’s unmistakable signature unfolds particularly clearly. Compositional sophistication, melodic variety and that special ability to present musical complexity with astonishing ease.

Simon Moskon had meanwhile taken his place behind the piano again. And at that very moment, I could not suppress a broad grin. Anyone who remembers Supertramp’s Roger Hodgson around 1977 might experience a particularly interesting sense of déjà vu at the sight of Simon. The once again impressive head of hair, the full beard, the posture at the piano. Good heavens, you could almost have believed that someone had teleported Hodgson straight from 1977 into Barnaby’s Blues Bar. All that was missing was a time machine.

Though I am not sure Simon needs the comparison at all. For all the visual resemblance, Moskon has long since established a musical identity entirely his own. And yet: a little Supertramp nostalgia suits him remarkably well. I would even say it flatters him.

A Personal Highlight

Bloodmoon

**Markus Kleiner** (Photo by Oliver Behrens - CC’n’G)

“Bloodmoon” brought us to one of those songs that hold a special place for me within The Cryptex’s body of work. It comes from Once Upon a Time, an album I still regard as one of the band’s most significant and compositionally strongest releases.

Of course, I may not be entirely impartial on this subject. After all, I had the pleasure of contributing to the production of that album myself. But even with the critical distance required of a musician and producer, my conviction remains: Once Upon a Time is among The Cryptex’s outstanding works, and “Bloodmoon” is right up there for me.

Its anthemic power, melodic intensity and ability to be both sophisticated and immediately accessible make it a special experience. Live, the composition revealed its full impact. Powerful, rocking and delivered with the same assured professionalism that had run through the entire evening. Anyone who knew the words could hardly help singing along. And when a song like that fills the room with sound of this quality, a small blues bar becomes a rather large musical stage for a few minutes. Without a single extra square foot.

Facets & Personality

How Many Days, Holy Ground and Nimbus

**The Entity** (Photo by Oliver Behrens - CC’n’G)

With “How Many Days”, “Holy Ground” and “Nimbus”, the band continued their musical journey. Three compositions that once again showed how versatile The Cryptex can be within their own musical universe. Between melodic immediacy, progressive arrangements and punchy rock passages, there was still plenty of room for the musical subtleties that give this band its distinctive character.

At least as entertaining as the music itself was the way Simon Moskon engaged with his audience. Between songs, he repeatedly made direct contact with those present, offered humorous comments, refused to take himself too seriously and showed a remarkable instinct for the atmosphere in the room.

Indeed, calling him merely an entertainer would almost be an understatement. In many ways, he is the creative heart and soul of The Cryptex. A musician responsible for a substantial share of the compositions, yet one who remains open to creative collaboration with his bandmates and other musicians. For me, that very openness is a hallmark of great artists.

His ability to communicate with the audience with self-deprecating humour also makes him enormously likeable. You could watch even those guests who had perhaps originally come in for no more than a drink becoming increasingly absorbed in the performance. Simon did not have to manufacture audience participation. The enthusiasm developed all by itself.

Singing Together

Devils Casino and Two Horned Crown

Audience at **Barnaby’s Blues Bar**, 2026

“Devils Casino” provided another highlight of the evening. Even on Nimbus, this composition had stood out to me as one of the album’s finest songs. Live, that impression was confirmed. It has an immediate impact that is difficult to ignore. Particularly striking, once again, was its singalong appeal. There is something special about a band that writes musically sophisticated compositions without losing the ability to connect directly with its audience. With “Devils Casino”, that balance worked perfectly. And unlike an ordinary casino, this evening produced nothing but winners. The audience above all.

With “Two Horned Crown”, The Cryptex then returned once more to their magnificent album Once Upon a Time. Another concert highlight for me. By now, the band had reached even those guests who had previously had little contact with their music. Even the bar staff seemed unable to resist the atmosphere. That is saying something. After all, processing a musical revelation somewhere between drinks orders and glasses is not necessarily part of a member of the bar staff’s everyday duties.

The Apparent Farewell

Son of Fortune and Abyss

With “Son of Fortune” and “Abyss”, the concert finally approached what appeared to be its end. The band initially left the stage, and then something happened that particularly delighted me.

Anyone who regularly attends smaller club gigs will know the situation. A band finishes its set, the audience applauds politely, a few people perhaps venture a tentative call for an encore, while others are already thinking about their coats or their next drink.

Not that evening. It was precisely those guests who had not known The Cryptex at all beforehand who began loudly demanding an encore. More and more voices joined in, until eventually the whole of Barnaby’s Blues Bar was calling for another musical round.

For me, it was one of the evening’s loveliest moments. What greater recognition could a band receive than winning over people who had not originally come to see them at all? The Cryptex had not merely convinced their loyal followers. They had quite clearly gained new ones, too.

The Encore

Anthem of Glory

Naturally, The Cryptex did not need much persuading. They returned for their encore with “Anthem of Glory”, giving the audience a conclusion as powerful as it was fitting. A song whose bombastic character makes it ideally suited to closing a concert evening like this.

During the expansive outro, the musicians finally said their farewells to the audience. Afterwards, they could be found at the busy merchandise stand as the evening gradually wound down.

The Verdict

Great Culture Does Not Always Need a Big Stage

I had entered Barnaby’s Blues Bar with a considerable dose of scepticism. The layout had brought back memories of long-ago gigs where musical enthusiasm and acoustic reality had not always enjoyed a particularly happy relationship. Yet The Cryptex and their team demonstrated impressively that professionalism, musical ability and passion can create an excellent concert experience even under challenging spatial conditions.

Thanks to Barnaby’s Blues Bar and The Cryptex, both devoted fans and curious guests were able to experience sophisticated musical culture at close quarters that evening. Including those who had perhaps only found their way into the bar by chance.

For me, that is precisely what gives events like these their special significance. Music needs to be able to reach people. It needs to surprise, inspire and occasionally win over those who never intended to take an interest in it in the first place. And that is exactly what The Cryptex achieved so remarkably that evening.

Because one thing is beyond question for me: The Cryptex are not simply another band within the progressive rock scene. They are a significant part of our contemporary musical culture. Anyone who still has doubts should take the next opportunity to see them live.