My journey with Peter Gabriel’s music began in the late 1980s, when So catapulted him into global recognition. The infectious energy of Sledgehammer drew me in instantly, but it was the depth and richness of the entire So album that cemented my admiration. That connection only deepened with the release of Us, an equally ambitious and emotionally charged follow-up.
I still vividly remember watching the final show of the Secret World Live tour in a rain-soaked outdoor arena in Hong Kong, completely immersed in the experience despite the weather. Since then, however, Gabriel’s output has been sporadic, and while there have been glimpses of brilliance, few releases have felt like a true successor to the creative peak of So, until now.
Peter Gabriel has never been one to rush the creative process, but even by his standards, the journey behind I/O is remarkable. Reportedly begun as far back as 1995, the album was meticulously developed over nearly three decades before finally seeing release at the end of 2022. This extended gestation explains why I/O feels so deeply connected to the sonic and emotional world of So and Us, and yet it also stands as a natural evolution.
If So was Gabriel at his most commercially accessible and Us his most introspective, I/O is his most mature, weaving the emotional resonance of Us with a broadened, more grounded perspective. Like many records destined for classic status, I/O reveals its depths slowly. It doesn’t demand attention, it earns it, and once it finds its way under your skin, it stays there.
Of course, we’re living in the 2020s, and the musical landscape has changed dramatically. It’s unlikely that I/O will grace commercial radio playlists or climb the heights of Spotify charts. But that shouldn’t suggest a lack of potential. Had this album followed Us by just a few years, tracks like Panopticom and Road to Joy could easily have broken into the Top 40.
These songs carry the same melodic strength and rhythmic intrigue that once brought Sledgehammer and Digging in the Dirt to mainstream attention. Today, though, I/O is music that must be sought out. It’s crafted not for algorithms but for attentive listeners, delivered by a seasoned ensemble of musicians, engineers, and producers, all working under Gabriel’s exacting standards. Every detail feels intentional. Every moment, earned.
At the heart of I/O is a core group of seasoned musicians who have been central to Peter Gabriel’s sound for decades. Drummer Manu Katché, bassist Tony Levin, and guitarist David Rhodes all featured prominently on So and Us, and have remained vital contributors on tour and in the studio. Their deep musical chemistry is felt throughout I/O, anchoring the album with a sense of continuity and trust.
Another key figure is Brian Eno, a long-time collaborator whose role is officially listed as production, but whose influence undoubtedly runs deeper. Eno brings a sonic depth and creative atmosphere that is felt in the album’s textures and mood, his presence here is less a feature and more a foundation.
Trying to catalogue the gear used to make I/O feels almost beside the point, and nearly impossible. Spanning decades of development and recorded at Gabriel’s iconic Real World Studios, it likely saw an evolving blend of analogue classics, digital tools, and cutting-edge production techniques. But to focus on the equipment is to miss the essence of what I/O represents.
In an unusual move, Peter Gabriel had two separate mixes created for i/o: the Dark-Side Mix by Tchad Blake and the Bright-Side Mix by Mark Stent. Each offers a distinct listening experience, and I enjoy both for different reasons. It’s a rare privilege for listeners to be given a choice, something you don’t often see.
This is music built not on presets or plug-ins, but through collaboration, patience, and craft. For younger generations raised on bedroom production and instant gratification, I/O stands as a lesson in what it truly means to make a record. It defies the era it’s released in, yet somehow feels timeless. Nothing here is phoned in, this is a group of exceptional musicians, in a room, capturing lightning together. For Gabriel, delivering a work of this depth and cohesion at this stage of his career isn’t just admirable. It’s extraordinary. Quite possibly his finest hour since Us, and unquestionably his most complete artistic statement in decades.