It's kind of sad in a way to bid farewell to this 2007 Genesis tour which began several months ago in Europe and hit North America with a series of well received shows.
The band had the difficult task of trying to appease two different demographics with many longtime progressive rock fans longing for the older more complex material while more recent fans may only have been cognizant of the more radio friendly pop hits that came when the band really hit the mainstream.
I think the setlist was as successful as could be expected of mixing the old and new and seemed to satisfy most fans who understood the dilema facing the group.
It will now be interesting to see if Peter Gabriel will ever rejoin his former bandmates to tour some of the classic material of old.
I hope this blog has been of some service to fans who wanted quick access to setlists, reviews, videos and such. I thank everyone who visited, submiited comments and participated in following the tour.
I hope to leave the blog intact as a monument of sorts to this tour and hope you'll come back to relive your memories of concerts you may have attended, or wish you had.
Behind The Lines / Duke’s End Turn It On Again No Son Of Mine Land Of Confusion In The Cage / The Cinema Show / Duke’s Travels Afterglow Hold On My Heart Home By The Sea / Second Home By The Sea Follow You Follow Me Firth Of Fifth / I Know What I Like Mama Ripples Throwing It All Away Domino Drum Duet Los Endos Tonight Tonight Tonight (intro) Invisible Touch
I Can’t Dance The Carpet Crawlers
Review: OC Register by Ben Wener
Genesis braves the rain at the Bowl The reunited band turned in a near-epic performance, despite having to cut its encore.
No one, not even ardent fans bummed they didn't play "Abacab," can claim the stateside run of Genesis' first tour in more than a decade came to anything less than a memorable conclusion at the Hollywood Bowl this weekend.
Granted, such striking success had as much to do with inclement weather Friday night as it did the performance itself, surprisingly robust despite earlier reviews to the contrary and a rather stiff appearance in July at Live Earth. Five songs in, as the prog-rock veterans indulged their first (and longest) epic of the night, a 30 percent chance of rain quickly became a soaking reality for the 18,000 or so on hand, sheets of heavy drizzle almost mirroring the movement of the music.
As Phil Collins intoned "I've got sunshine in my stomach" at the outset of "In the Cage," the first piece in a medley often employed as Genesis' finale years ago, the clear skies suddenly grew misty and ominous. As the scene shifted to "The Cinema Show" and then the instrumental passage "Duke's Travels" (a change from the usual "Slippermen"), the rain started to fall harder – and yet the crowd's attitude toward this natural nuisance rapidly evolved from inconvenience to burgeoning ebullience, a muted might-as-well-play revelry settling in.
Finally, as the soothing "Afterglow" carried this 15-minute mega-composition to its finish, the wetness momentarily began to let up – while the Bowl itself, bathed in bright yellow, was illuminated as if the sun were rising just behind us, a nifty trick achieved by rows of powerful stage lights placed throughout the venue.
"Well," jovial Collins said dryly, "if there's one thing you can depend on at a Genesis show, it's (bleepin') rain."
Protective plastic shields were put up around Tony Banks' keyboards, lest they fry; later a giant umbrella was positioned over him. Stage hands emerged to mop up the floor around Collins and guitarists Mike Rutherford and Daryl Stuermer. "Stick with it, kids," Collins said, as if to his band mates as much as the audience.
And sure enough, for the better part of an hour the rain subsided while Genesis' show gathered momentum, the low-key nature of the players (including longtime second drummer Chester Thompson) overcome by a vivid backdrop of giant visuals that only needed a few inflatable animals to measure up to the Pink Floyd display Roger Waters presented here recently.
Soon a pattern surfaced: epic, hit, epic, hit, epic hit. It answered a lingering question: Which Genesis would show up on this tour?
I don't mean which incarnation, for obviously the absence of founding members Peter Gabriel and Steve Hackett meant there would be no suite from "The Lamb Lies Down on Broadway," say – although the group often dipped into its early-'70s catalog, most notably for a sequence from "Selling England by the Pound," dovetailing from "Firth of Fifth" (and a supreme Stuermer solo) to "I Know What I Like (In Your Wardrobe)."
Rather, which aspect of this Collins-led Genesis would dominate? By the time of its commercial zenith (circa 1986's "Invisible Touch") the band had greatly downplayed complexity in favor of more straightforward MTV-driven hits, while still allowing room for sprawls like "Domino," another epic resurrected at the Bowl.
Thus, would this apropos-of-nothing reunion – accompanied only by the gradual reissuing of the band's catalog by Rhino Records – be more geared toward fans of "Throwing It All Away" (here a night-brightening singalong) and "Hold on My Heart"?
Certainly those soft-rock staples, along with other popular favorites like "Land of Confusion" and "Follow You Follow Me," were prominently featured. But neither did they overwhelm the proceedings or alienate hard-core fans, who delighted in darker entries like "Mama" and "Home by the Sea," as well as lesser-known tracks like the sumptuous "Ripples …" (treated to Roger Dean-ish visuals) and the churning instrumental "Los Endos," preceded here by one of the few engaging drum solos I've ever sat through.
Indeed, it was often remarkable how well the back-and-forth between radio fare and wilder flights of fancy meshed, never bogging down the evening's flow, instead achieving a crescendo of sorts by the time a fireworks-enhanced "Invisible Touch" concluded the main set.
At that point, however, the rains had returned – and with an unrelenting force that eventually did in the band. Banks' keyboards appeared to lose power during that last cut, and Genesis subsequently threw in the towel, perhaps prematurely. "We were gonna play one more song," Collins said, "but things are breaking down, and you're soaked."
The crowd hardly cared, clearly craving more, though even if they had gotten an encore, they might not have heard what they desired. Typically the group has returned (as it undoubtedly did Saturday night) with "I Can't Dance" and the "Lamb" feature "The Carpet Crawlers." Missing, then, were several staples: "Abacab," "Misunderstanding," "No Reply at All," "Man on the Corner," "That's All," "Dodo/Lurker" … it's a long list.
Genesis probably needed another hour to really produce the sort of deeply satisfying, career-spanning show some of us anticipated. All the same, these stalwarts, overdue for Hall of Fame recognition, fared just fine, serving their legacy quite well in the face of bad weather that easily could have made this a wash out.
Behind The Lines / Duke’s End Turn It On Again No Son Of Mine Land Of Confusion In The Cage / The Cinema Show / Duke’s Travels Afterglow Hold On My Heart Home By The Sea / Second Home By The Sea Follow You Follow Me Firth Of Fifth / I Know What I Like Mama Ripples Throwing It All Away Domino Drum Duet Los Endos Tonight Tonight Tonight (intro) Invisible Touch
I Can’t Dance The Carpet Crawlers
Review: Sacramento Bee by Chris Macias
Genesis at Arco: Stately, professional and dated
The final strains of "Turn It On Again" filled Arco Arena and Genesis was ready to mine more of its catalog. But Phil Collins, dressed in pants that could've come from a Dockers sale, first had some introductory words for the crowd:
"Pleased to be here, we're Genesis."
Well, it was something like that.
The version of Genesis that reached Sacramento on Wednesday night played well, even if it wasn't for purists. Collins is singing and drumming away - and still walking around like he's got a wedgie in "I Can't Dance." But Peter Gabriel (a.k.a. the guy behind Genesis' greatest work) still hasn't signed on with the band, which is touring with Collins for the first time in 15 years.
For those keeping track on a prog-rock scorecard, Genesis circa 2007 is a reunion of the band's post-Steve Hackett lineup, which since the late-1970s includes Chester Thompson on drums and guitarist/bassist Daryl Stuermer. Guitarist/bassist Mike Rutherford and keyboardist Tony Banks represent Genesis' founding fathers.
That's a lot of forks in Genesis' family tree, and plenty of fodder for a 2 1/2-hour set. There was grandiose prog-rock from the Gabriel era ("The Carpet Crawlers," "Firth of Fifth"), the MTV hits during Collins' stint as lead singer ("Land of Confusion," "Invisible Touch"), and the song that forever conjures images of Michelob commercials ("Tonight, Tonight, Tonight").
Genesis' prog-rock side sounded stately as ever, with powerful guitar solos and enough tempo shifts to practically require a conductor. Collins and Thompson were also locked when the two played drums in tandem, especially as they led the band into "Los Endos." Genesis' sense of exaltation and melody was intact after all these years, especially in 1973's "I Know What I Like (In Your Wardrobe)."
And some of it sounded dated, like those synthesizer tones that practically screamed "1970s!" But Banks was still a whirl behind the keyboards, making Genesis sound something like sci-fi circus music as the tempos peaked.
A little charm goes a long way with this heady stuff, and that's where Collins comes in. His self-effacing humor, like joking about baldness, and getting the crowd of some 11,000 to "woooo" on cue lightens a potentially lofty load.
The problem is that a lot of Collins-fronted Genesis songs just aren't very good. He sang the schmaltzy "Hold On My Heart" while sitting on a stool, and all that was missing was a troupe of "Solid Gold" dancers sashaying behind him. And "Mama" might be the only song in rock that uses throat clearing as a chorus ("Hah hah, hah"). "Land of Confusion" also lacked some of the rage from its original version, but the puppets from the video did make a cameo on the video screens.
The show ended on an old-school note with "The Carpet Crawlers," a slow-burn of a song from 1974's "The Lamb Lies Down On Broadway." It could have soared just a little bit more, but hey, even the Collins haters have to admit he does the song justice.
Behind The Lines / Duke’s End Turn It On Again No Son Of Mine Land Of Confusion In The Cage / The Cinema Show / Duke’s Travels Afterglow Hold On My Heart Home By The Sea / Second Home By The Sea Follow You Follow Me Firth Of Fifth / I Know What I Like Mama Ripples Throwing It All Away Domino Drum Duet Los Endos Tonight Tonight Tonight (intro) Invisible Touch
I Can’t Dance The Carpet Crawlers
Review: San Jose Mercury News by Jim Harrington
Review: Genesis turns it on again -- lightly
Ahh, the Phil Collins-led Genesis. They're back after a 15-year hiatus, not that you would have noticed. The band picked the wrong year to reunite and has been lost, to some degree, amid the bigger to-dos over the regroupings of the Police and Van Halen. Yet, some fans were obviously paying attention. Many of them could be seen on Tuesday night in San Jose, packing the HP Pavilion to capacity and thoroughly enjoying the band's local stop on its Turn It On Again world tour.
The concert lasted nearly three hours and, in all, served as a great synopsis of the band itself. The set was split between heavy prog-rock numbers and lightweight pop tunes, neither of which, at least to this critic's ears, were all that interesting without the band's original vocalist, Peter Gabriel.
The marked divider that exists in Genesis' career is as great as any in music history. There is the Gabriel-led Genesis, which helped define prog-rock with such works as 1974's "The Lamb Lies Down on Broadway," and then there is Phil Collins' crew, which achieved huge mainstream success with the likes of 1986's "Invisible Touch."
Where fans stood in regard to that border obviously dictated how much they enjoyed the concert. There were some aspects about the performance, however, that even the biggest Gabriel devotee couldn't help but enjoy.
For one thing, this version of Genesis -- featuring vocalist-drummer Collins, guitarist-bassist Mike Rutherford and keyboardist Tony Banks, as well
as longtime tour mates, guitarist-bassist Daryl Stuermer and drummer Chester Thompson -- should be applauded for putting on a great sounding show. The concert mix was near studio quality, perhaps the best I've heard at the Shark Tank, and the songs sounded as if they were being played on a really good home stereo. Credit that to the sound engineers, of course, but also to the players, who are, above all else, seasoned pros and perfectionists.
Also, the stage set looked phenomenal -- a trademark of the Genesis concert experience -- as the band performed in what resembled a cut out in a giant speaker cabinet.
Following an opening instrumental segment taken from the 1980 album "Duke," Collins leapt from his drum set and took center stage to lead the band through, appropriately enough, "Turn It On Again." The group showed no signs of rust after its long layoff from touring as it continued through "No Son of Mine" and "Land of Confusion." Indeed, it was like Genesis had gone into some form of deep sleep around 1991 and had been waiting all these years for somebody to simply "Turn It On Again."
Unfortunately, that didn't mean that the later-era songs were any more interesting in 2007 than when they were first released. Insipid tracks like "Hold On My Heart" and "Throwing It All Away" still sound more like bad Styx or good Christopher Cross than the best of Genesis.
Like seemingly all Genesis gigs since the mid-'70s, this one was the Phil Collins show. He told jokes, hammed it up for the cameras and never really relinquished the spotlight. He even did an old school dance routine with a tambourine, banging it against his feet, hand and head. I realize that this kind of corny bit has a long history of pleasing crowds -- but, then again, so did throwing Christians to the lions. This guy just doesn't know when to stop and it wouldn't have been a shocker if he'd followed by bringing dogs to the stage to chase Frisbees.
All of the goofing around and plethora of lightweight pop numbers turned out to be detrimental to the more artsy prog-rock compositions. It was hard to take, for example, the "Lamb Lies Down" track "In the Cage" seriously when it came served in a stew of clownish maneuvers and songs so sappy that Kenny G wouldn't touch them.
The main set closed with Genesis' fluffiest pop number, "Invisible Touch," which even 20 seconds of accompanying fireworks couldn't save from being anticlimactic. A two-song encore of "I Can't Dance" and "The Carpet Crawlers" followed and then, for better or worse, Genesis decided it was time to turn it off again.
Behind The Lines / Duke’s End Turn It On Again No Son Of Mine Land Of Confusion In The Cage / The Cinema Show / Duke’s Travels Afterglow Hold On My Heart Home By The Sea / Second Home By The Sea Follow You Follow Me Firth Of Fifth / I Know What I Like Mama Ripples Throwing It All Away Domino Drum Duet Los Endos Tonight Tonight Tonight (intro) Invisible Touch
I Can’t Dance The Carpet Crawlers
Review: Daily Camera by Greg Glasgow
Genesis goes beyond familiar radio hits
Rock reunions seem to be all the rage these days — bands from the '70s and '80s dusting off the old hits and heading out on the road, all in the name of the almighty dollar.
And though there's no doubt money to be made from the endeavor, Phil Collins, Mike Rutherford and Tony Banks seem to have reunited Genesis at least partially for the sheer joy of making music together again. At least that's the feeling one got during the band's show Saturday night at the Pepsi Center, one of the last stops on a North American tour that started Sept. 7 in Toronto. Originally conceived as a full reunion with Peter Gabriel and guitarist Steve Hackett, the trek ultimately featured the three musicians who have been the band's core since the late 1970s.
With longtime tourmates Chester Thompson (drums) and Daryl Stuermer (bass, guitar) helping out, the trio pushed itself far beyond the '80s radio hits many fans had likely come to hear, giving equal time to singles such as "Throwing It All Away" and "I Can't Dance" and relatively obscure older tunes such as "Firth of Fifth" and "Los Endos."
Granted, the latter songs were far from unfamiliar to many of the longtime fans in Saturday's near sell-out crowd, who roared when Collins, 56, announced the band was going to play "some really, really old songs" before launching into a medley that contained "In the Cage," "The Cinema Show" and "Afterglow." With Collins and Thompson doing double duty on the drums, Rutherford strapped into his double-neck guitar and Banks nailing his intricate keyboard runs, it was indeed like seeing the Genesis of long, long ago.
But there were many nods to the band's more recent past, as well. After opening with the 1980-era instrumental "Behind the Lines," the band played "No Son of Mine" and "Land of Confusion." Later it pulled out the big guns, playing "Invisible Touch," "Throwing It All Away" and "Tonight, Tonight, Tonight" for those in the crowd who may have known the band only for its '80s radio singles (and may have come away disappointed by the 2½-hour show's high ratio of '70s prog-rock excursions).
Banks and Rutherford nailed their parts as expected, but it was the confident, amiable Collins who led the night, engaging the crowd in sing-alongs, taking pictures from the stage and switching back and forth between singing songs from the front of the stage and laying down his trademark big beats from behind a second drum kit. He even sang one tune — "Follow You, Follow Me" — while drumming. He was in fine voice all night.
Those who deride Genesis for its simple pop songs simply aren't paying attention: The band has always been about its instrumental excursions as much as its tender love songs. Collins singing "Hold On My Heart" was a nice moment to put an arm around your significant other, but much more thrilling were the instrumental "Los Endos" and the solo sections of songs such as "Home By the Sea."
Playing on a high-tech, shiny metal stage in front of projected visuals both of the band in younger days and odd animated characters, Genesis proved 15 years away from the road hasn't hurt its sound a bit — and put June's Police reunion show at the Can to shame.
Genesis Perform "Home by The Sea" United Center Chicago 1st night
Genesis Performs "Cinema Show" and "Dukes Travels" ist night Chicago
Setlist:
Behind The Lines / Duke’s End Turn It On Again No Son Of Mine Land Of Confusion In The Cage / The Cinema Show / Duke’s Travels Afterglow Hold On My Heart Home By The Sea / Second Home By The Sea Follow You Follow Me Firth Of Fifth / I Know What I Like Mama Ripples Throwing It All Away Domino Drum Duet Los Endos Tonight Tonight Tonight (intro) Invisible Touch
I Can’t Dance The Carpet Crawlers
I don't anticipate any fresh reviews from the local newspapers since this was show #3 at United Center. We would like to know what you thought of the show though ... if you attended any of the Chicago shows, please add your comment below.
Behind The Lines / Duke’s End Turn It On Again No Son Of Mine Land Of Confusion In The Cage / The Cinema Show / Duke’s Travels Afterglow Hold On My Heart Home By The Sea / Second Home By The Sea Follow You Follow Me Firth Of Fifth / I Know What I Like Mama Ripples Throwing It All Away Domino Drum Duet Los Endos Tonight Tonight Tonight (intro) Invisible Touch
I Can’t Dance The Carpet Crawlers
Review: DailySouthTown by Steve Metsch
Genesis dazzles with old, new at United Center
In reviews, you're supposed to mention the good and the bad. And I've tried really hard to find something negative about last night's Genesis concert at the United Center.
So, here goes. The band is playing for big paychecks. But what band doesn't these days? And it would have been nice to hear "Man on the Corner."
But for the most part, the 2 1/2-hour show served as showcase for musicians who are at the top of their craft, and it was clear the band put some thought into the play list for what was the first of three almost-sold out shows.
Without a new album to support, it would have been easy to churn out the hits and toss in a few nuggets for the older fans. But the boys mixed things up nicely, blending Top 40 hits with seldom-heard gems, making for a memorable show.
Fans knew from the start, as the band dove into the instrumental "Behind the Lines," that a special night was in store.
Genesis stayed true to the promise of lead singer/drummer Phil Collins, who early on said, "We're going to run through all the different periods of Genesis, and we hope there will be something you like"
Was there ever.
After the percussion-heavy "Turn It On Again," with Collins sharing drum duties with Chester Thompson, the band tore into the bleak "No Son of Mine," with Collins spitting out the bitter lyrics. Then it was to the "Land of Confusion," originally a Reagan-era shot at Cold War politics that is as relevant today given, as Collins noted, there's "not too much love to go around."
Then it was a trip in the "Wayback Machine" as Genesis returned to the days of former frontman Peter Gabriel with a stirring rendition of "In the Cage" from their 1974 breakthrough album "The Lamb Lies Down on Broadway." The grand, sweeping song started with Collins on lead vocals and ended with keyboardist Tony Banks and guitarist Mike Rutherford, on the double-neck guitar, trading sizzling solos.
Gabriel, by the way, was invited to join this tour, but declined.
"In the Cage," followed by "Cinema Show," "Duke's Travels," "Afterglow" and the newer song "Hold On My Heart," set a tone for the night as the band hop-scotched through the years. Many of the songs evolved into dazzling jam sessions.
Collins was quick to introduce Thompson and bass guitarist Daryl Stuermer, both with the band roughly 30 years and both of whom are content to let the main trio - Rutherford, Banks and Collins - grab the spotlight while providing a strong base.
You don't realize how many hit songs Genesis has had until you see the band live. Nor do you think of their wide range. From their progressive rock beginnings to their pop rock years, the band has always struck gold. So it was Tuesday.
Calling it the band's "scary song," Genesis broke into "Home By the Sea," paining an eerie picture of a house surely absent from Great Britain travel guides. That segued into "Second Home by the Sea," another jam session bathed in a rainbow of lights. The stage, with a video screen shaped like Gumby's head, served as fun eye candy.
And, somehow, the sound was pristine in the cavernous United Center.
Although the set list has not varied on the current world tour, the songs - and Collins' bantering - did not seem stale. They may have played "Follow You, Follow Me" thousands of times in 30 years, but it still sounded fresh.
So did the rollicking instrumental "Firth of Fifth" and the gentle "Ripples." The latter was played after a scorching version of "Mama," with Collins looking downright devilish in tight closeups. Tongue in cheek, he apologized for "that disgusting song ... filled with sexual innuendo," and vowed Genesis "won't play that song again until tomorrow night."
The lovefest with fans was evident when they sang "Happy Birthday" to Rutherford, who turned 57 Tuesday. He, Banks, 57, and Collins, 56, have aged well, although the bald Collins fondly recalled, "when I had hair, and when Tony's hair was dark."
A photo montage featured shots of the band over the years. Included was Gabriel, who has enjoyed success on his own, as have his former mates. One wonders if Genesis would have sold as many albums had Collins not moved from the drums to replace Gabriel as the singer. One thing is certain: We wouldn't have one of the best frontmen in music. Collins is a warm, engaging soul, and did all the talking as Rutherford and Banks stayed silent. And he proved he can still handle the drumsticks.
The band closed with the hit songs "Tonight, Tonight" and "Invisible Touch," complete with indoor fireworks.
The encore, a nod to when they were MTV stars, found Collins leading the guitarists on a stroll around the stage during a funky "I Can't Dance" while Rutherford's smile lit up the arena.
"OK, now we're to the last song," Collins said to a chorus of boos. "We have to be back in the home by midnight. Thank you all for coming. This is a very special song to us. We hope you like it."
They did, judging by the thousands of voices that sang along with him on a lovely "Carpet Crawlers."
Walking across Madison Street after the show, I overheard a man ask his friend for a review. "I don't know what to say," the overwhelmed friend repeated.
"Wow" covers it.
*note: the above review concerns show #1 at United Center (if press covers show #2 I'll add that review also) ... often with multiple shows in one city, press covers only first performance.
If you attended any of the Chicago concerts please share your thoughts below by adding a comment.
Behind The Lines / Duke’s End Turn It On Again No Son Of Mine Land Of Confusion In The Cage / The Cinema Show / Duke’s Travels Afterglow Hold On My Heart Home By The Sea / Second Home By The Sea Follow You Follow Me Firth Of Fifth / I Know What I Like Mama Ripples Throwing It All Away Domino Drum Duet Los Endos Tonight Tonight Tonight (intro) Invisible Touch
I Can’t Dance The Carpet Crawlers
Review: Chicago Sun Times by Jim DeRogatis
The smart and the cheesy Genesis take turns Reunited British quintet makes no fan completely happy
"We're Genesis," Phil Collins announced early in Tuesday's show at the United Center, the first of a sold-out three-night stand on the reunited British rockers' first tour in 15 years.
''We're your entertainment for the evening. ... And we're going to run through some things from all of the different periods of Genesis.''
Given the band's rich discography and four-decade history -- and its radical shift in the mid-'80s from lush but wildly inventive progressive rock to stripped-down and sometimes simplistic MTV pop -- if the band was going to deliver on its frontman's promise, it was inevitable that we'd be in for a pretty schizophrenic night.
Indeed, at times during the quintet's lengthy performance, it sometimes seemed as if an inferior opening act composed of unabashed poseurs and pop wannabes was alternating with a historic and groundbreaking headliner.
Was that band tossing out dismissible trifles such as ''No Son of Mine,'' ''Land of Confusion'' and ''Hold on My Heart'' really the same group thundering through a (no kidding) breathtakingly brilliant medley of ''In the Cage,'' ''The Cinema Show,'' ''Duke's Travels'' and ''Afterglow''?
How could Collins be so inspiring double-drumming with Chester Thompson during "Behind the Lines" and so moving while singing "Follow You, Follow Me" and "Ripples," but so smarmy and annoying while setting up and then crooning "Home by the Sea"?
And how could the band's co-founders, guitarist/bassist Mike Rutherford (who was celebrating his 57th birthday and still looked incredibly cool sporting a doubleneck bass and 12-string guitar) and keyboardist Tony Banks (who may no longer be hauling a Mellotron, but who still plays like a one-man orchestra) fail to recognize the difference between the band in those divergent modes, or try to encourage the good Phil and save us from the cheesy hambone?
At last year's press conference announcing this reunion, Banks said the hope had been to reconvene with original singer Peter Gabriel (which would have kept Collins behind those drums) and guitarist Steve Hackett to perform the 1975 masterpiece "The Lamb Lies Down on Broadway." Alas, Gabriel postponed that jaunt for some indefinite time in the future, but the others decided to tour anyway "just for fun" (as well as one of the biggest concert paydays of 2007).
Truth be told, the old boys did seem to be having a blast twisting through the complex time signatures and regal melodies of the more challenging prog material. (Another big highlight here: a thoroughly rousing ''I Know What I Like (In Your Wardrobe).'') But then we'd get a flamboyantly theatrical but otherwise hollow ''Mama'' or a perfunctory reading of another pandering late '80s or early '90s hit, and the spell would be broken.
In the end, Genesis tried to be all things to all of its fans. And for those who really knew what they liked, whether it was the old-school art-rock or the bubblegum pop, it's likely that no one was 100 percent happy -- except for the musicians' accountants.
Behind The Lines / Duke’s End Turn It On Again No Son Of Mine Land Of Confusion In The Cage / The Cinema Show / Duke’s Travels Afterglow Hold On My Heart Home By The Sea / Second Home By The Sea Follow You Follow Me Firth Of Fifth / I Know What I Like Mama Ripples Throwing It All Away Domino Drum Duet Los Endos Tonight Tonight Tonight (intro) Invisible Touch
I Can’t Dance The Carpet Crawlers ___________________________________
Review: Detroit News by Adam Graham
Genesis, the musically adventurous 1970s prog-rock group, played a reunion show at the Palace of Auburn Hills Sunday night. Also with them on the bill was Genesis, the 1980s FM hitmakers and early MTV staples.
Concidentally, both bands' members are the same. Talk about a land of confusion.
The two Genesises don't always happily co-exist, and the push-pull was apparent Sunday before a near-capacity Palace crowd.
On the one hand, there was the towering, free-association progressive rock from the band's early years; an early suite combined "In the Cage" (from 1974's "The Lamb Lies Down on Broadway"), "The Cinema Show" (from 1973's "Selling England by the Pound"), "Duke's Travels" (from 1980's "Duke") and "Afterglow" (from 1977's "Wind&Wuthering"). All were complex and expansive, blazing through odd time signatures and inspiring the fiftysomething music geeks in the audience to air drum like they were back in their parents' basements rocking out with their headphones on.
Then there was the sappy Genesis hits of the 1980s and early 1990s, the songs you hear when browsing the aisles at Rite Aid late at night and that you haven't had a craving to listen to since the beginning of the CD era. The atrocious "No Son of Mine" seemed to last even longer than some of the 15-minute plus instrumentals and "Hold on My Heart" had the audience bolting for the bathrooms, while "Land of Confusion" and "I Can't Dance" inspired thoughts of, at best, "Wow, I remember that video" and at worst, "Man, that song really hasn't aged well."
Fortunately, Genesis frontman Phil Collins has aged well, and he worked three times harder than anyone else on stage Sunday. He performed double duties on drums and vocals throughout the evening, and even took time out for a tambourine solo that had him bashing his tambourine against his hips, knees, feet and head. As if to say, "Hey, the old man's still got it," video of Collins doing the same solo during the band's early days was projected on the stage's gigantic video wall, and Collins easily kept pace with his former self.
The Genesis reunion show -- well, partial reunion, as estranged lead singer Peter Gabriel remains far, far away and guitarist Steve Hackett is still outside of the fold -- unspooled on a stadium-worthy stage that looked like it was constructed from the leftover scrap metal from U2's Pop Mart tour. The band members -- Collins, keyboardist Tony Banks, bassist Mike Rutherford, and touring musicians Daryl Stuermer (guitar) and Chester Thompson (drums) -- were backed by the aforementioned video wall which featured all manner of digital images throughout the show, and displayed video of smiling, cheering crowd members during the oddly touching "Throwing It All Away."
Collins steered the two-and-a-half hour show and was ever the affable front man, but not all of his choices worked. The video wall's unflinching close-ups of his floating head during "Domino" and "Home by the Sea" were reminiscent of the projection of David Byrne's face onto the highway in the Talking Heads' "Burning Down the House" video, and his forced stage banter lacked spontanaity. "Apart from us, are there any other old people here tonight?" Collins said early in the show, just as he has at other stops on the current outing.
But when he got behind the drums for a masterful, jaw-dropping drum duet that segued cleanly into "A Trick of the Tail's" "Los Endos," most all was forgiven. On a night that was long on spectacle but not without turmoil, it was a show-stealing moment, and the band's identity crisis no longer seemed to matter.
If you attended the Detroit concert, please add a comment and tell us what you thought of the show.
Behind The Lines / Duke’s End Turn It On Again No Son Of Mine Land Of Confusion In The Cage / The Cinema Show / Duke’s Travels Afterglow Hold On My Heart Home By The Sea / Second Home By The Sea Follow You Follow Me Firth Of Fifth / I Know What I Like Mama Ripples Throwing It All Away Domino Drum Duet Los Endos Tonight Tonight Tonight (intro) Invisible Touch
I Can’t Dance The Carpet Crawlers
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Review: Cleveland Plain Dealer by John Soeder
Genesis at The Q: An epic struggle between the forces of prog and the forces of pop
In the beginning, or close enough, there was a prog-rock band from England. The first singer went solo, but the band played on and went pop-rock, led by Phil Collins, son of Greville, until Collins also left.
Now it came to pass on the 29th day of the ninth month in the year 2007, the band brought its reunion tour to The Q in Cleveland for a sold-out concert.
And lo, there was much rejoicing.
Collins sang and, from time to time, thwacked a drum kit. Mike Rutherford, son of Crawford, played guitar and bass. Tony Banks, son of John, noodled around on keyboards.
The trinity was backed by faithful sidemen Daryl Stuermer and Chester Thompson.
A technician said, "Let there be light," and there were spotlights in many colors amid wisps of theatrical fog. The sound was muddy at first, yet it did not deter the 15,000 faithful from singing along with "Turn It On Again."
Then Collins said, "We're going to be here quite awhile. Don't peak too early."
The resolve of the multitude was tested with "Land of Confusion." Great was the temptation to go wild, but fans heeded the "Thou shalt not peak too early" commandment.
Then Collins said, "Apart from us, any other old people out there tonight? Good, because we're going to play some very, very old songs."
The band made good on this promise with a 15-minute medley of ancient tunes, including "In the Cage," "The Cinema Show" and "Duke's Travels."
And lo, it got kind of boring, except for the virtual sunset during "Afterglow."
Collins jabbed a finger angrily in the air as he belted out "No Son of Mine." So much for honoring thy father.
"Ha-ha! Ha!" Collins laughed diabolically in the middle of "Mama." So much for honoring thy mother, too.
No servant can serve two masters, yet the band tried its darnedest, as its conflicted soul found itself caught in an epic struggle between the forces of prog and the forces of pop.
For every show-offy "Firth of Fifth/I Know What I Like (In Your Wardrobe)" extravaganza, there was a catchier and more concise "Follow You, Follow Me." For every convoluted "Los Endos" jam, there was a simpler pleasure such as "Hold On My Heart." For every prog rarity along the lines of "Ripples," there were pop hits such as "Throwing It All Away" and "Invisible Touch."
Those extremes were difficult to reconcile at times during the 2 1/2 hour performance, but true believers were up for anything, be it a two-headed extended rhythmic showcase by Collins and Thompson, or a fleeting yet amusing tambourine solo by Collins.
Then Collins said, "We've come to the end of our evening together."
Both sides of the band revealed themselves again during the encore. And lo, the prog of "The Carpet Crawlers" and the pop of "I Can't Dance" were met with more rejoicing, before the mass exodus.
We'd love to hear your opinion of the concert if you attended the Cleveland show, please add a comment below.
Behind The Lines / Duke’s End Turn It On Again No Son Of Mine Land Of Confusion In The Cage / The Cinema Show / Duke’s Travels Afterglow Hold On My Heart Home By The Sea / Second Home By The Sea Follow You Follow Me Firth Of Fifth / I Know What I Like Mama Ripples Throwing It All Away Domino Drum Duet Los Endos Tonight Tonight Tonight (intro) Invisible Touch
I Can’t Dance The Carpet Crawlers
Review: To Follow (i've been searching all day for a press review of this concert at Giants Stadium and have had no success ... I'm not sure if the NY writers felt they did their bit by reviewing the gig at MSG two days ago. I'll keep looking. *thanks to the kind folks who attended and added their comments.
If you attended the Giants Stadium show, please submit a comment and let us know what you thought of the show.
Behind The Lines / Duke’s End Turn It On Again No Son Of Mine Land Of Confusion In The Cage / The Cinema Show / Duke’s Travels Afterglow Hold On My Heart Home By The Sea / Second Home By The Sea Follow You Follow Me Firth Of Fifth / I Know What I Like Mama Ripples Throwing It All Away Domino Drum Duet Los Endos Tonight Tonight Tonight (intro) Invisible Touch
I Can’t Dance The Carpet Crawlers
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Review: New York Daily News by Jim Farber
Genesis reunion show bridges styles
A key question nagged as Genesis mounted the stage at Madison Square Garden last night for its first New York concert in 15 years.
Exactly which Genesis would show up?
Would it be the chirpy pop act that churned out peppy '80s hits such as "Invisible Touch"? Or the brooding '70s prog-rock band that went for 10-minute suites and distended guitar solos?
As it turned out, both appeared - to wildly varying effect. Regardless, neither of those incarnations could capture the version of Genesis older fans pine for most. This tour originally promised to reunite the main version of the group that included Peter Gabriel, the signature singer who ditched the band in 1975.
But that deal fell through. So instead last night we got the most enduring trio - singer/drummer Phil Collins, keyboardist Tony Banks, and bassist Mike Rutherford - along with longtime hired hands guitarist Daryl Stuermer and drummer Chester Thompson.
The diplomatic set list tried to forge a handshake between the band's pop and prog poles.
It didn't always make for the smoothest transitions. The band moved awkwardly from sheer goo like "Follow You, Follow Me" to erudite instrumental flights like "Firth of Fifth."
The opening spanned both styles with rare aplomb, moving from the complex instrumental "Duke's Intro" to an effectively chugging "Turn It on Again."
From there, the adventurous pieces won out over the hits, not only in terms of artistry, but, surprisingly, as crowd pleasers, too. Fans justifiably reacted more resoundingly to daring pieces such as 1973's "In the Cage" than to a thumb-twiddler like the ballad "Hold on My Heart," which sent people racing for the rest rooms.
By contrast, the group soared in more evolved pieces such as "The Cinema Show" and "I Know What I Like (In Your Wardrobe)."
Of all the players, Banks sounded freshest, if only because his classically attuned keyboards fell farthest from pop fashion.
Not every allusion to the '70s encouraged happy nostalgia. Did we really need a 10-minute double drum solo? But given a crowd response that favored the band's most difficult songs over their hum-alongs, it may not be too much to hope that one day the band gets back with its ideal front man Gabriel after all.
If you attended the MSG show let us know what you think, was the above review accurate in your opinion?
Duke Turn It On Again No Son Of Mine Confusion Cage - Cinema - Travels-Afterglow Hold On My Heart Home By The Sea Follow You - Firth- I Know Mama Ripples Throwing It All Away Domino Drum Duet Los Endos Tonight, Tonight - Invisible Touch I Can't Dance Carpet Crawlers
Review: Richmond Times-Dispatch By MELISSA RUGGIERI
The Genesis catalog is a tricky beast.
Pre-MTV -- as in, the 1970s -- it swelled with ambitious prog rock compositions, sold with grand theatricality by Peter Gabriel and Phil Collins.
Once the video era arrived, so did a slicker, mainstream Genesis that crafted catchy songs ideal for beer commercials.
How to meld the two for the band's reunion tour? Throw in a little of everything and realize you can't please everyone.
For its first tour in 15 years, the most successful version of Genesis -- Phil Collins, Mike Rutherford and Tony Banks -- has woven a set list that is admirably schizophrenic.
The era-hopping was immediately evident Sunday night at a sold-out Verizon Center in D.C. The band ricocheted from the 1980 threesome "Behind the Lines," "Duke's End" and "Turn it On Again" to the robust weight of 1991's "No Son of Mine" to open the 2½-hour show.
Though the sprightly Collins was quick out of the gate to entertain -- taking digital pictures of the audience, asking them, "Apart from us, are there any old people here tonight?", crouching and clapping like a baseball umpire as Rutherford or Banks soloed -- it took several songs before the band seemed comfortable and not merely playing with technical perfection and cool efficiency.
For most in the crowd of about 18,000, age determined which segments of the concert signaled a bathroom break.
For the MTV generation, it was at the first sight of Rutherford's special double neck guitar/bass combo, used during "In The Cage" and "The Cinema Show," a winding knockout punch of off-kilter time changes and wonky keyboards from Banks.
For the old-timers, it was anytime a song containing the word "heart" was played.
Collins might not be the prettiest singer -- though he didn't strain much on those heart-melting ballads -- but whether his occasional hoarseness was a product of touring and age (the band is halfway through a 20-city tour and he's 56) or a deliberate effort to give the songs resonance, it worked. The eerie "Mama" and his dramatic growls during the chorus of "No Son of Mine" lingered in memory long after the show was over.
While the reedy Rutherford and stoic Banks -- joined by the terrific Chester Thompson (drums) and Daryl Stuermer (guitar) -- never broke a sweat, their musical mastery wasn't any less engaging.
Still, Collins earned the MVP award for pulling double duty and making sure the audience felt sufficiently entertained for paying a top ticket price of $230.
He frequently slipped behind the drums to play in tandem with Thompson, sometimes singing simultaneously ("Follow You Follow Me"), sometimes participating in a lengthy instrumental break ("Firth of Fifth") and sometimes acting the class clown, as he did during "I Know What I Like (In Your Wardrobe)," pulling out a tambourine to bat it against his bald head, his elbows and the tips of his toes.
Chances are you won't see this many middle-aged white guys air drumming until the next Who tour.
Credit to the band as well for not short-changing the audience after what was explained as a "minor power issue" delayed the start of the concert for nearly an hour.
Collins and Thompson thumped through a thrilling drum duel (though too-small oval video screens flanking the stage made the action impossible to watch) before Genesis buzzed through lightweight crowd-pleasers "Tonight Tonight Tonight" and "Invisible Touch," bringing the show well into the 11 p.m. hour.
With such a diverse repertoire, it would have been criminal to cut anything out -- except maybe that encore of "I Can't Dance."
If you attended the Verizon Center, Washington show please let us know what you thought of the concert by adding a comment. I publish all comments in full good or bad.
Duke Turn It On Again No Son Of Mine Confusion Cage - Cinema - Travels-Afterglow Hold On My Heart Home By The Sea Follow You - Firth- I Know Mama Ripples Throwing It All Away Domino Drum Duet Los Endos Tonight, Tonight - Invisible Touch I Can't Dance Carpet Crawlers
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Review: Columbus Dispatch By Aaron Beck
Genesis shows it still has the knack
Wow. What a refreshingly endearing -- and downright strange -- arena-rock experience that was.
Last night in Nationwide Arena -- during its first concert in Columbus since a 1992 Ohio Stadium show that drew 73,000 -- Genesis demonstrated that amplified music played in nearly packed sports complexes doesn't solely have to be a rehash of hits and kowtowing to the populace.
Oh, there were sing-alongs and clap-your-hands-and-say-yeah ditties from the '80s and early '90s, to be sure, including Land of Confusion, I Can't Dance and Tonight, Tonight, Tonight.
And there was ingratiating bonding with the locals: singer/drummer Phil Collins leading an Ohio State 'O-H!-I-O!' cheer.
But in a two-and-a-half-hour, multimedia/multi-sensory spectacle -- a program that hasn't been altered since the tour began in June in Europe -- Collins, keyboardist Tony Banks, guitarist/bassist Mike Rutherford, drummer Chester Thompson and guitarist/bassist Daryl Stuermer served up the familiar pop hits as sort of palette cleansers for the audience before unloading their adventuresome symphonic rock.
A more Jekyll-and-Hyde act would be hard to find. More important, a band with dichotomy like this that can make a show work so well is hard to think of.
Beginning with the theatrical instrumental Behind the Lines, with Collins behind a drum kit he would man on and off all evening, the band laid into the pulsing Turn it on Again. The pair of tunes, from the 1980 album Duke, the group's first album to hint of more sugary pop things to come in the MTV age, set the stage for the night.
From then on, it would be this way: meticulously orchestrated rock with delicate passages giving way to bombastic crescendos set to abstract video displays and temporarily blinding, computer-programmed lights. And then, for kicks, eight-minute epics such as Ripples and medleys creatively blended to touch upon music from the Peter Gabriel era (pre-‘76).
Collins, Banks, Rutherford and company, in their first tour in 15 years, move about the stage the way most men in their late ‘50s do or should, which is to say they are not the most colorful or emotive characters.
Who cares? Collins remains a terrific drummer, demonstrating his skills with Thompson in a drum battle. Rutherford and Stuermer remain of the school of precise and economical note-slinging. And Banks remains the stoic base of the band, guiding it through feathery pieces and cacophonous rock alike.
The show ended the way it began: pop and progressive rock side by side.
After encore No. 1 (I Can't Dance) Collins introduced The Carpet Crawlers (from the band's progressive-rock masterpiece from 1974, The Lamb Lies Down on Broadway), which he called "a very special song in the Genesis history."
"We've been coming to Columbus since 1973 when we played the Agora (now the Newport Music Hall)," Collins said, a tad hoarse from belting it out in fine form during a 2-and-a-half hour show. "Every time we've been back you've been great to us. Thank you very much."
If you attended the Columbus show please let us know what you thought of the concert, was the above review accurate?
Duke Turn It On Again No Son Of Mine Confusion Cage - Cinema - Travels-Afterglow Hold On My Heart Home By The Sea Follow You - Firth- I Know Mama Ripples Throwing It All Away Domino Drum Duet Los Endos Tonight, Tonight - Invisible Touch I Can't Dance Carpet Crawlers ________________________________
Review: Philadelphia Inquirer *note review is based on 2nd Philly show Sept. 19th
Genesis brings the old prog rock back to Wachovia By Sam Adams
With bands like Battles and the Decemberists flaunting their instrumental prowess and album-sized concepts, it's clear that progressive rock has struck a chord with young audiences. Uttering the words song cycle is no longer cause to fear for your lunch money.
But if prog rock has come back into favor, Tuesday's Genesis show served as a reminder of why it fell out in the first place. As one shapeless, interminable jam followed another, the evening deliquesced into a soup of guitar wizardry and keyboard whoosh. (The band plays the last of a three-night stand at the Wachovia Center this evening.)
Reuniting Phil Collins with core members Mike Rutherford and Tony Banks (as well as touring stalwarts Daryl Stuermer and Chester Thompson) for the first time since 1996, the Turn It on Again tour shares a name with the band's best-of disc. But the nods to their string of synthesizer-driven '80s hits were terse and convictionless. Even the sold-out crowd couldn't seem to get worked up for "Land of Confusion."
The mood brightened when Collins sang the first notes of "In the Cage," from the band's double-LP opus The Lamb Lies Down on Broadway. Kicking off a four-song, 15-minute montage of live staples from the band's early days, the mini-suite notably energized their playing.
Although drum solos have been known to strike fear into the heart of the stoutest jam-band fan, Thompson and Collins' behind-the-kit duets provided some of the evening's highlights. Effortlessly slipping into sync, they stopped the show for a propulsive four-handed introduction to "Los Endos." Perhaps it's just a side effect of Collins' pop stardom, but air drummers far outnumbered air guitarists in the crowd.
Wearing wind pants and a long-sleeved T-shirt, both black, Collins belted out ballads with the verve of an American Idol contestant, occasionally thrusting his face into the footlights to spooky effect. But despite the fireworks that erupted at the climax of "Invisible Touch," the band generated more heat than light, turning it on without turning it up.
If you attended the first Philly show, please post your own review and share your experience ... add a comment below. Seems to me this is one of the few negative reviews on the North American leg so far ... I'd like to hear some more opinions from those who attended. ________________________________ Thanks For Your Support!
Duke Turn It On Again No Son Of Mine Confusion Cage - Cinema - Travels-Afterglow Hold On My Heart Home By The Sea Follow You - Firth- I Know Mama Ripples Throwing It All Away Domino Drum Duet Los Endos Tonight, Tonight - Invisible Touch I Can't Dance Carpet Crawlers
Review: Hartford Courant
Phil Collins, Genesis Keep It Rocking By KENNETH PARTRIDGE
When Genesis announced last year it would re-form and tour, ageist skeptics kept quiet, hurling none of the disdain they muster whenever the Stones oil up their creaky joints and start another global roll.
This, presumably, has to do with the music. Whether we're talking about early prog-rock Genesis or the latter-day MTV version, it's not unthinkable that guys in their late 50s could produce the requisite sounds.
Performing Sunday night at the Hartford Civic Center, the group's best-known lineup - the one with Phil Collins, not Peter Gabriel, handling lead vocals - turned in nearly three hours of fussy, calculated, precise songs. The tunes required more in the way of lights and computer graphics than movement from the musicians.
In fact, if the band decides to try it again in 10 or 15 years, the only thing it will have to change is the amount of time Collins spends behind the drums. On the opening number, a combination of "Behind the Lines" and "Duke's End," Collins rolled heavy fills and hit hard splashes, proving he's lost little since the days he was known only for being the group's timekeeper.
A second drummer, longtime member Chester Thompson, took over whenever Collins stepped up to sing, and the pair often played together, battling each other to a series of showy draws.
Collins' percussive blasts brought needed flavor to some of the group's early keyboard odysseys. To casual fans, Genesis may be about concise synth-pop songs, but in actuality, the band exists to flex its musicianship and offer up art-rock epics, such as the seemingly endless "Domino."
That's not to say the group didn't play its '80s hits. In between flights of fancy, Collins led the crowd through sing-along versions of "Land of Confusion," "Follow You, Follow Me" and "Throwing It All Away."
Whereas Collins the solo artist specializes in making music for everyone, Sunday's show was geared toward air-drumming diehards - folks who high-five during "In the Cage" but head to the restrooms during "Hold On My Heart."
For these fans, Genesis can't help but work in 2007. Collins' quips and constant mugging, coupled with the stoic wailing of multi-instrumentalist Mike Rutherford and keyboardist Tony Banks, suggest there is some fun to be had when pop furrows its brow and overindulges.
The Hartford Courant
____________________________________ Thanks for your contributions to this Genesis Fan Blog
Genesis Perform "Throwing It All Away" Scotiabank Place Ottawa ON Canada Sept 15, 2007
Setlist:
Duke Turn It On Again No Son Of Mine Confusion Cage - Cinema - Travels-Afterglow Hold On My Heart Home By The Sea Follow You - Firth- I Know Mama Ripples Throwing It All Away Domino Drum Duet Los Endos Tonight, Tonight - Invisible Touch I Can't Dance Carpet Crawlers _______________________________
Review: Ottawa Citizen
Genesis turns it on for Ottawa fans By Patrick Langston
True, there were no surprises when the steamroller called Genesis rolled into Scotiabank Place last night. Then again, the 14,000 folks in the sold-out audience weren't there for surprises, but rather for a night of much-loved and smoothly delivered rock tunes from the 1970s, '80s and '90s. Which is exactly what they got.
Greeted by a standing ovation, the British trio - once one of the world's most popular bands - performed Turn It On Again, No Son Of Mine, Land Of Confusion and others on a massive, dramatic stage.
A 70-metre long, rollercoaster-like screen, meanwhile, glittered with lights and video simulations behind the trio. Over the stage, yet more lights shone down, perhaps a nod to the middle-aged eyes of frontman Phil Collins, bassist Mike Rutherford and keyboardist Tony Banks (the three were helped out by Chester Thompson on drums and Dan Stuermer on guitar).
"Any old people here tonight?" asked Collins early in the set. Audience roar. "Older than us, that is?" he added with a laugh. More roar.
This was a little after he greeted his audience in old-fashioned and slightly ironic fashion with, "We are Genesis and we are your entertainment tonight." In true Genesis fashion, last night's show included jams, romantic pop and a bit of prog rock pomp from the band's early days when Peter Gabriel, who left for a solo career in 1974, fronted the band and Collins played drums (Collins clambered aboard a second drum kit several times last night).
In fact, Gabriel was originally asked to join this tour, the band's first in 15 years, to celebrate the 30th anniversary of the release of The Lamb Lies Down on Broadway, a double concept album. Gabriel, for reasons of his own, declined. Ottawa was one of only three Canadian stops on the band's current tour. Last night's set list was virtually identical to the one the band worked out for both the European and North American legs of the tour, including tunes like 1992's Hold On My Heart, which the ever-emotive Collins sang while perched on a stool. A veteran crowd worker, last night Collins elicited clap-alongs, singsongs and every manner of audience participation he could have asked for. He also snapped pictures of the audience on a digital camera at one point and later slapped his knees and feet with a tambourine, which unaccountably drew a rapturous response from the audience. Those moves were probably all wise, as Collins is not a very dynamic performer, relying instead on his vocal prowess and the band's big instrumentation for excitement. Not that keyboard player Banks looked very excited. He spent most of the night, at least from what we saw on the two oval video screens bookending the stage, glowering at his instrument. His long-time band mate Rutherford broke into an occasional quiet grin. As press time loomed, Collins was cackling his way through 1983's Mama, the menacing tune that was the band's biggest U.K. hit and a clear favorite with Ottawa fans.
Duke Turn It On Again No Son Of Mine Confusion Cage - Cinema - Travels-Afterglow Hold On My Heart Home By The Sea Follow You - Firth- I Know Mama Ripples Throwing It All Away Domino Drum Duet Los Endos Tonight, Tonight - Invisible Touch I Can't Dance Carpet Crawlers
Review: Montreal Gazette
Genesis can still turn it on But Phil and the boys struggle to light a spark in the concrete void of the Big O by T'CHA DUNLEVY
It wasn't just the band that caused the confusing flashbacks last night. It was also the venue. As Genesis played the Olympic Stadium for a crowd of nearly 40,000, one could be forgiven for wondering what year it was.
The Big O hasn't been used for a concert in 10 years - U2 was the last act to attempt such an ill-advised feat. Genesis last played there 15 years ago, in 1992, and first played Montreal 34 years ago, at the CEPSUM in 1973.
That incarnation of the group was led by Peter Gabriel. Last night, it was Phil Collins (who took over after Gabriel's departure in 1975) who led a couple of his old bandmates, bassist Mike Rutherford and keyboardist Tony Banks, plus a couple of ringers (Chester Thompson on drums and Dan Stuermer on guitar) through the back catalogue of one of the most successful - and controversial, to fans, at least - prog-rock bands of all time.
Collins is often seen as the ambassador of Genesis-lite, while the Gabriel days are said to be where the true artistic merit lies. To his credit, the former attempted to bridge those worlds last night by including a generous number of Gabriel-era songs.
Which worked better in concert (at least with Collins leading) is debatable. The early material offered melodramatic pomp (which was, at least, engaging); the later stuff, i.e. the radio hits, brought much-needed energy to the sprawling, 21/2-hour set.
The show started strong. After the opening combo of Behind the Lines and Duke's End, from the band's Duke album (1980), Collins hit the ground running. He came out from his drum kit to sing the Turn It On Again (also the name of this tour), plus No Son of Mine and the murky but upbeat Land of Confusion.
Despite the spark of the songs, however, the energy lagged. There is a reason bands don't play the Olympic Stadium. It's a cavernous void, and so a vibe was hard to come by during the first half of the night.
The medley of In the Cage (1974), The Cinema Show (1973) and Duke's Travels (1980) brought the instrumental wanking, er, animated prog musicianship, that the diehard fans were surely craving.
Which actually broke the ice. There were many slow moments to the evening - entire segments where little seemed to be happening, the band got lost in its elaborate stage setup (think metallic-spaceship-rollercoaster, with LED lights and big screens) and neither-here-nor-there jams.
Mama, just over half-way in, pulled things together. Collins cackled emphatically, relishing the chance to dig into the song's ominous melody.
Hey Montreal, Toronto Genesis fans made almost 50 comments on their show ... let us know what you thought of Genesis at The Big O and submit your own comment.
Duke Turn It On Again No Son Of Mine Confusion Cage - Cinema - Travels-Afterglow Hold On My Heart Home By The Sea Follow You - Firth- I Know Mama Ripples Throwing It All Away Domino Drum Duet Los Endos Tonight, Tonight - Invisible Touch I Can't Dance Carpet Crawlers
Review: Albany Times Union
Genesis reunion is a revelation By MICHAEL LISI
ALBANY -- There's no new record to promote and no new songs to play.
So Genesis' "Turn It On Again" reunion tour -- which has the band back out for the first time in 15 years -- is more about having a good time than trying to crack the charts again.
Not that Genesis has anything to prove. Prog-rock icons and pop hit-makers, Genesis -- singer/drummer Phil Collins, keyboardist Tony Banks and guitarist Mike Rutherford -- has covered more musical ground in one album than most bands can ever hope to achieve.
At the Times Union Center on Wednesday night, Genesis turned it on again, playing a satisfying mix of songs spanning their four-decade career. Spotlighting cuts from 1973's "Selling England By The Pound" to 1991's "We Can't Dance," the band mixed it up, playing the hits and album cuts such as "Duke's End," "Afterglow" and "Ripples" -- which the band has never played live until this tour.
A crowd of about 8,500, most of them middle-aged baby boomers, shelled out big bucks to see the band; it cost $203 to sit in front floor sections and better lower level seats, and $102 for the remaining lower level seats.
Fans didn't complain -- at least the ones who wanted -- to hear Genesis' prog-rock fare. Anyone expecting to hear only 1980s-era Genesis and lots of Collins' solo songs was disappointed.
It's not that Genesis didn't play its '80s stuff; Collins' vintage vocals were quite nice on "Land of Confusion," "Throwing It All Away" and "Tonight, Tonight, Tonight." And a slowed-down version of late 1970s hit "Follow You, Follow Me," was perfect.
Genesis, augmented by guitarist Daryl Stuermer and longtime tour drummer Chester Thompson, was more about prog rock than pop on Wednesday night, reaching back for long-ago concert staples such as "In The Cage," "I Know What I Like (In Your Wardrobe)," "Firth of Fifth" and "Los Endos" -- which included a sampling of "Squonk." And the memories of tuning out in your bedroom wearing heavy headphones rushed back during "Ripples."
The old stuff hit the mark, Banks' swirling keyboards enveloping "Firth of Fifth," punctuated by Stuermer's screaming guitar leads. Collins' voice was so good on the intense "Mama" and "I Know What I Like," the experience heightened as old photos and video of the band scrolled across the screen.
Certainly, the band's light show was up to par, even though it's a slightly scaled down version of their European stadium tour. Still, a huge arc-shaped video screen stretching the length of the stage was enough to create a big effect.
Collins, who wowed fans with a drum duet with Thompson, had some fun with fans at times, but he wasn't the sometimes hammy showman he is when he's out solo. On stage, Genesis was a band, as subdued as always, letting the music, the lights and the video effects create the desired mood.
Genesis Perform "Land Of Confusion" TD Banknorth Garden Boston MA Sept 11, 2007
photo: Robert E. Klein for the Boston Globe
Setlist:
Duke Turn It On Again No Son Of Mine Confusion Cage - Cinema - Travels-Afterglow Hold On My Heart Home By The Sea Follow You - Firth- I Know Mama Ripples Throwing It All Away Domino Drum Duet Los Endos Tonight, Tonight - Invisible Touch I Can't Dance Carpet Crawlers
Review: Boston Globe By Sarah Rodman, Globe Staff
And then there were three, again.
It has been 15 years since the Phil Collins-Tony Banks-Mike Rutherford iteration of Genesis hit the road, and last night at the TD Banknorth Garden, the trio, plus a pair of indispensable longtime support musicians, seemed to be making up for lost time.
The epic two-hour, 40-minute show canvassed the legendary prog-cum-pop rock band's entire near-40-year history, including its earliest Peter Gabriel-led incarnation.
In the beginning the sound was dreadful and it was not good, as hollow echoes surrounded Collins's voice during opening numbers such as "Land of Confusion."
The mix improved incrementally as the band toggled between their disparate styles in front of a massive glittering video screen, which had the unintended effect of making all but Collins seem inert.
Of course, since the long ago departure of Gabriel, the members of Genesis have hardly been known for their stage antics, but instead for their big, rich, and elaborate songs.
And they played a lot of those in a deeply bizarre but ultimately satisfying set list that might not have served all of the band's masters, but got the point across that these guys can still play.
While some fans were in nirvana during the chunky staccato keyboard riffage of "Firth of Fifth" from way back in 1973, others were in line for the restroom. The slight sway of the adult contemporary '90s ballad "Hold on My Heart" was a cue for some to cuddle and others to chat, loudly.
The places where opinion seemed unanimous also tended to be the night's best performances.
The light-footed and lighthearted "I Know What I Like (In Your Wardrobe)," accompanied by endearingly scruffy images of Genesis past, and the lovely send off of "Carpet Crawlers" were highs among the oldies with Collins doing his famed tambourine jig during the former and giving a sweetly nuanced performance of the latter.
The menacing "Mama" - complete with curdled "Ha, ha ha!" howls and raw, nerve-ending keyboards - represented the '80s with surprisingly funky dread.
Collins and second drummer Chester Thompson acquitted themselves handily on the customary drum duel with perhaps a few more grimaces but not a beat lost. Daryl Stuermer contributed on bass and on guitar solos, elaborate and simple.
But still it was hard to fathom why the group would choose to include such universally maligned late-in-the-game trifles as "I Can't Dance," while songs like "Abacab" and "Misunderstanding" went begging.
But even if they were not all things to all people, and once again proved that they can't dance, the gentlemen of Genesis proved that they can still play.
If you attended the Boston show, please let us know what you thought of the show, add a comment below.
There are a small number of low priced tickets for tonight's show here which can be purchased online and picked up close to the venue, act now they won't last.
There are still some very good deals on tickets to upcoming shows:
Behind The Lines / Duke’s End Turn It On Again No Son Of Mine Land Of Confusion In The Cage / The Cinema Show / Duke’s Travels Afterglow Hold On My Heart Home By The Sea / Second Home By The Sea Follow You Follow Me Firth Of Fifth / I Know What I Like Mama Ripples Throwing It All Away Domino Drum Duet Los Endos Tonight Tonight Tonight Invisible Touch
I Can’t Dance The Carpet Crawlers
Review: Pittsburgh Post-Gazette
Concert Review: Genesis dazzles Monday, September 10, 2007 By Scott Mervis, Pittsburgh Post-Gazette
Stick around for 40 years and naturally you're going to evolve through various phases that will appeal to different people.
Genesis has pondered this and understands it beautifully. The band pulled into Mellon Arena Sunday night on its first tour in 12 years with a 2-hour-and-40 minute set that was guaranteed to please, whether you like the "Lamb" or "Invisible Touch."
This wasn't the Peter Gabriel-led reunion that the hardcore following has been clamoring for, but we'll try not to dwell on that.
As it turns out, Genesis made a pretty good choice 33 years ago when it let the drummer sing. Phil Collins was able to quarterback the old art-rock sound for a while before saying, "what the hell," and the turning them into the pop machine that made an arena reunion like this even possible.
He's also held up well, looking somewhat like your gym teacher. In fact, all the members of Genesis still look fine and gentlemanly -- although that's hardly even important to the proceedings.
The band still fills a room with glorious sound and light, all on a set that looked like a stadium piece squeezed into an arena. Rather than all the ramps some bands use, Genesis says "let there be lights." They had a super, high-tech, industrial-looking layout with a giant LED spread that constituted a screen to show the band, abstract designs and a few creepy-scary closeups on Collins.
With Collins and Chester Thompson both on their kits, Genesis began smack in the middle of its career with a rousing "Duke/Turn It On Again," and then traveled in both directions. They did songs to get people dancing at concerts, songs to sweep you away to dreamy places, emotionally scorching ballads and songs to just blow you away with musicianship. It's totally weird that it's all coming out of the same band.
We got some of that funk-era Genesis in the beginning of the set with the oh-so-timely "Land of Confusion." Then Collins asked, "Any old people here tonight...except us?" Obviously, the answer was Yes (and not the Rick Wakeman Yes). With that, Genesis launched into the highlight of the show, a frenzied "In the Cage," powered by keyboard wiz Tony Banks pumping out the tension. OK, Collins doesn't hit the goosebump-inducing high notes Gabriel can, but he sang it strong and then ran to the drums for the proggy jam that ultimately came out the other end with a majestic "Afterglow."
Longtime guitarist Daryl Stuermer got his chance to shine -- and soar and shred -- on "Firth of Fifth," an instrumental that offers the feeling of flying through a fantastical land, without the benefit of drugs.
One of the reasons Genesis became popular in the '80s is Collins' balance of chops and showmanship. Unlike Gabriel, he'll goof with the crowd, as he did on "I Know What I Like," complete with circus-like tambourine trick, and the encore "I Can't Dance," with his comical strut. He can also turn sinister, as on the "huh-ha, huh-ha's" of the pounding "Mama," bathing him in a red-light closeup a la Vincent Prince.
"On behalf of the group," he joked after that, "I would like to apologize for the disgusting nature of that song," and introduced one that goes to a "place of innocence." It was "Ripples," a thing of pure thing of beauty delicately handled by Banks.
Drum solos are an arena cliche, unless Collins and Thompson are holding the sticks. They started by beating on stools and then eased over to their kits -- Thompson's enormous, Collins' more kid-sized -- for a workout that balanced flash with nuance, leading into another far-out jam, "Los Endos."
To close out the set and start the encore we got the lights-up, poppy, sing-along Genesis of "Invisible Touch" and "I Can't Dance." The final thought, though, a was a shimmering "Carpet Crawlers" that reverted to the original idea of a full-fledged reunion.
It wasn't meant to be this time -- or maybe ever -- but the "and-then-there-were-three" version of Genesis remains a force that can dazzle with beauty, intensity or pure fun.
Duke Turn It On Again No Son Of Mine Confusion Cage - Cinema - Travels-Afterglow Hold On My Heart Home By The Sea Follow You - Firth- I Know Mama Ripples Throwing It All Away Domino Drum Duet Los Endos Tonight, Tonight - Invisible Touch I Can't Dance Carpet Crawlers
Review: The Buffalo News
A sumptuous treat for Genesis fans By Jeff Miers NEWS POP MUSIC CRITIC
OK, so it wasn’t the original Peter Gabriel-led lineup basking in the glorious glow of “The Lamb Lies Down on Broadway.”
However, on Saturday, when the trio version of progressive rock pioneers Genesis – Phil Collins, Tony Banks, Mike Rutherford and longtime tour collaborators Chester Thompson and Darryl Steurmer — arrived in Buffalo for the second date of its North American “Turn it On Again” reunion tour, only a truly hardened cynic could’ve remained unmoved. Saturday’s concert reflected the dichotomy between concise pop and far-reaching, exploratory pieces from throughoutthe band’s history.
Incredible talent as an ensemble, individual virtuosity, and an acrobat’s sense of balance — exemplified by the sort of back-to-back, idiomatic brain quakes created by the placing of a prog-Beatles ballad like “Afterglow” next to the r&b-inflected pop of “Hold on My Heart” — made Saturday’s set a joy to behold.
Opening with the gorgeous, expansive “Behind the Lines,” and fusing it to “Duke’s End,” Genesis arrived like manna from heaven for listeners who have in recent years likely grown both bored and frustrated by the lowest-common-denominator nature of much modern rock.
“Turn It on Again,” another song from the brilliant, sadly underrated “Duke” album, followed, and introduced the tight, taut post-Gabriel pop sensibilities. “No Son of Mine” was less adventurous, but Collins sang with abundant passion, and largely covered for the rather conventional — by Genesis standards — song structure.
Treats abounded for the Genesis faithful, as the band offered up the “In the Cage/The Cinema Show/Duke’s Travels” medley, played “Home By the Sea” and “Second Home by the Sea” as one extended piece, and melded the elegant “Firth of Fifth” to the quintessentially British “I Know What I Like.”
There was only one lame spot in the set, and it came when the group played the massively popular but musically weak “Invisible Touch.” The song was a huge hit for the band, so one can forgive them for playing it.
On balance, this show was moving on many levels. When Collins sang “Afterglow” so beautifully; when “Ripples” was as fantastically transcendent as it ever was; when Collins and Thompson performed a duet solo piece. Name me one band that’s emerged over the past decade that could possibly pull this off.
The band ended with “Carpet Crawlers,” one of “The Lamb Lies Down on Broadway’s” most moving songs. It was a transcendent four minutes, capping a stellar show.
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If you attended the Buffalo show we'd love to hear about your experience, please share your concert thoughts as a comment.
Behind the Lines / Duke’s End / Turn It On Again No Son Of Mine Land of Confusion In The Cage / The Cinema Show / Duke’s Travels / Afterglow Hold on My Heart Home by the Sea / Second Home By The Sea Follow You Follow Me Firth of Fifth / I Know What I Like Mama Ripples Throwing It All Away Domino Drum Duet / Los Endos Tonight, Tonight, Tonight / Invisible Touch I Can’t Dance Carpet Crawlers
Review: Toronto Sun
By JANE STEVENSON - Sun Media
TORONTO - Nice stage, shame about the performance.
That about sums up the North American launch of British prog-rock veterans Genesis' Turn It On Again reunion tour -- which sees frontman Phil Collins, bassist Mike Rutherford and keyboardist Tony Banks playing together for the first time in 15 years -- that unfolded at BMO Field last night.
Playing on an impressive-looking, enormous stage that featured an LED screen so big you could probably see it from space, the trio -- backed by longtime sidemen Chester Thompson on drums and Daryl Stuermer on guitar -- are solid musicians but not what you'd call dynamic showmen, despite some verging-on-pomp-rock just dying for theatrics.
A restrained Rutherford looked like he could have been smoking a pipe while Banks' dour expression while bent over his keyboards didn't exactly signal a good time.
Collins, meanwhile, alternated between playing drums and taking centre stage, but was a mostly static performer, with the exception of a much needed late show tambourine workout during I Know What I Like.
"How very nice to be back here with you," said Collins. "We're Genesis and we're going to try and entertain you."
It didn't help the show's pacing that the climax came early during Turn It On Again, No Son Of Mine and Land Of Confusion, in the first half-hour of the marathon performance that was scheduled to last two-and-a-half-hours.
Where is original Genesis singer Peter Gabriel, who passed on this latest trek, which was originally going to celebrate the 30th anniversary of The Lamb Lies Down On Broadway, and his wacky stage outfits when you need him?
The group has been in Toronto since last weekend rehearsing for the North American leg of their tour which began back in June in Helsinki.
Still, practise hasn't exactly made them loose and lively performers, far from it.
Infinitely more entertaining to watch were the group of enthusiastic teenage boys accompanied by their hockey coach one row in front of me, whipping off their shirts and twirling them in the air whenever the mood struck.
Otherwise, it was the new soccer stadium's first rock show and some fine tuning is definitely in order given the traffic jams to get into various parking lots, followed by more long lineups to get into the venue.
Still, it was a warm summer night and despite wild winds and ominous looking black clouds, it stayed dry with the exception of a few drops of rain about an hour-and-a- half into the performance.
There was also some beer throwing from the upper stands, which landed on the backs of myself and others, even though we didn't need any cooling off.
Genesis' only other Canadian stops are at Montreal's Stade Olympique on Sept. 14 and Ottawa's Scotiabank Place on Sept. 15.
If you need a band to christen a stadium, you could do worse than Genesis.
Granted, you could do better, too. The original, slightly less grating – just slightly less grating – Genesis with Peter Gabriel and Steve Hackett holding pompous sway over Phil Collins, Mike Rutherford and Tony Banks's more populist tendencies would be a start. But, hey, at least these three greying British gentlemen have a long history behind them of distracting large groups of people gathered in gargantuan spaces from the general dullness of their collective stage presence and catalogue. And so Toronto's new professional soccer stadium, BMO Field, received its first, perfectly decent endorsement as a major new concert venue last night.
There were some wrinkles, to be sure. Heavy skies no doubt contributed to the simultaneous arrival of some 25,000 rain-wary ticket holders around the show's 8:30 start time, but the facility was sufficiently overwhelmed that it took until nearly 9 before extra entrances were opened to allow the increasingly frustrated hordes inside.
As a result, the reunited, latter-years Genesis wound up being rock 'n' roll enough to blow through the city's standard 11 p.m. curfew by more than half an hour, in order that the fans who've waited 15 full years – and, in many cases, paid in excess of $200 – to hear "Invisible Touch" and "That's All" live again might be sated.
That's about as rock 'n' roll as Genesis gets these days, not counting the shots of Collins, Rutherford and Banks in wilder, more hirsute days that dappled their "Turn It On Again" tour's truly mind-blowing, undulating LED-screen backdrop during the poncey prog-rock expanses of "I Know What I Like" last night.
Wild as the lads might have been during their acid-fried Lamb Lies Down on Broadway days, in 2007 they're an even more staid, white-bread and predictable bunch than they were during their Collins-led march on the Billboard charts during the 1980s. Blame Banks, maybe, for drowning everything in the cheese wrought by his incessantly watercolour, New Age synth pads and dating the material instantly, but whatever edge there might have once been to "Home By the Sea" – sorry, Phil, that song is not "scary," even with the ghoulish faces on the screens – or "Firth of Fifth" is indistinguishable from the anodyne murk of Genesis's big-ticket years.
To the band's credit, "Mama" actually did sound a bit scary, not least because of Collins's grizzled mug making "ha-ha-HAAH" noises in closeup for the cameras. And whatever, "Hold On My Heart" and "Throwing It All Away" were still making 55-year-olds make out on the big screens between chatter about their CostCo expeditions, so due power to the ballads.
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Review: Canadian press
Brit pop-rockers Genesis kick off North American tour with parade of old hits By Cassandra Szklarski
TORONTO (CP) - Brit pop-rockers Genesis kicked off their North American tour Friday with a parade of decades-old hits as their greying fans hooted with approval in a near-capacity Toronto soccer stadium.
Phil Collins, Mike Rutherford and Tony Banks, each now in their 50s, took to the stage backed by a massive video display that beamed over eager fans who rushed to the footlights to get a close-up view.
In their first tour on this side of the Atlantic in 15 years, Genesis launched into a series of familiar singles to match the crowd's ready enthusiasm, including "Turn It On Again," "No Son of Mine" and "Land of Confusion."
"Are there any old people here? Apart from us?" a playful Collins said to cheers and applause.
"This is your moment then, it's time for us to play some very, very old songs . . . . When we first wrote these songs, and recorded them, some of us had hair - dark hair," the bald front man quipped.
With that, the band downshifted from its radio-friendly pop-rock catalogue to its more eccentric beginnings, launching into "In the Cage" from their 1974 concept disc, "The Lamb Lies Down on Broadway."
It was one of several sprawling performances to feature double drumming between Collins and longtime tour companion Chester Thompson.
With a vast catalogue spanning four decades, Collins and company meandered through a musical ride that touched on their easy-listening, prog-rock, and pop days, with their sinister art rock song "Mama" drawing one of the most vigorous applauses of the night.
"We'd like to apologize for that song because it was extremely filthy," Collins said after sneering through the 1983 single, in which a man longs for a prostitute.
Massive oval screens on each side of the stage offered even the furthest flung fan a close up view of the bearded guitarist Rutherford, a grey-haired Banks on keyboards and a stubbled Collins, while Daryl Stuermer assisted on guitar.
A video montage of old band photos scrolled across a massive screen behind the stage with images documenting their '80s pop hey days and '70s rebirth with Collins as a new front man.
Original front man and founder Peter Gabriel left the band in 1975 to launch a respected solo career.
But it's Collins who has arguably had the biggest success apart from Genesis, achieving a string of soft rock hits in the '80s, while Rutherford scored modest hits with his band Mike and The Mechanics and Banks turned to classical music.
The reunion was clearly relished by Collins, who took out a small camera to take shots of the crowd several times throughout the performance.
"It's a very special evening, this evening. I feel it, do you feel it?" he asked as he pulled the silver camera from his sweater pocket.
The Brit band's 20-city tour takes them to Montreal on Sept. 14 and Ottawa on Sept. 15.
A few Genesis releases are expected this year, including a boxed set of remastered Genesis albums, a greatest hits collection and a concert DVD.
So, the Toronto critics seem a tad harsh, if you attended the show please add your own review as a comment as fans often have a different take on the proceedings.
The Genesis Show is sold out for this evening's concert which kicks off the North American leg of the Genesis Tour 2007. I guess the only chance for tickets is scalpers or on eBay ... I located a few tickets on eBay and you can have a look here. If they are etickets you can get access online or you'll likely need to pick up directly from the seller, here's the link:
