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
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
Throwing It All Away
Tonight Tonight Tonight (intro)
I Can’t Dance
The Carpet Crawlers
Auburn Hills (The Flint Journal)There are two Genesises, really. Bits of both turned up Sunday at The Palace, turning in an oddly listless, often dull, occasionally exhilarating performance as part of the trio's first tour in 15 years.
The first, more cerebral version of Genesis, started as a bunch of high-minded college students who, under the inventive leadership of singer Peter Gabriel, evolved into one of the most ambitious bands of England's '70s art-rock scene.
The other, more accessible Genesis is the one that defied the odds by surviving Gabriel's departure following their seminal "The Lamb Lies Down on Broadway" masterpiece, evolving into a hit-making pop music machine in the '80s and '90s fronted by genial everyman (and the band's former drummer) Phil Collins.
Collins and remaining members Mike Rutherford (who doubles on guitar and bass) and Tony Banks (who concocts all the electronic keyboard parts) sold a lot more records and made a lot more money than the Gabriel version. That's the Genesis most people know, and the Genesis most of the more than 12,000 fans expected to see Sunday.
Instead, they got a band with musical schizophrenia that tried to walk the tightrope between the two eras, with varying degrees of success.
There were times, for example, when the band dipped into the Gabriel-era songbook, such as a medley of "In the Cage" (from "Lamb" ) and "The Cinema Show" (from "Selling England By the Pound") with 1980's post-Gabriel "Duke's Travels," a blend that obviously pleased the smaller percentage of fans who've followed the group from one incarnation to the next.
The majority of the crowd, the ones weaned on Genesis via radio hits such as "I Can't Dance" and "Hold On My Heart" and their MTV ubiquity, sat politely and listened to the old songs they didn't recognize. They jumped to their feet every time the band - augmented by longtime touring members Daryl Stuermer on guitar and bass and Collins' percussive foil Chester Thompson on drums- reeled off one of their signature hits.
But it was an uneasy balancing act, despite the fact that the band sounded good after such a long layoff and its affable frontman was in relatively good voice (despite some struggles with high notes) and good humor. By trying to represent all eras to all fans, the band undercut its quality musicianship with a curiously constructed set that had way too many valleys and not enough peaks.
This from a guy who loved '70s Genesis far more than '80s or '90s Genesis and wished Gabriel and guitarist Hackett would have been part of this tour, as was originally planned.
There were highlights, of course, including the aforementioned "In the Cage," a welcome version of "Afterglow," a lovely version of "Ripples," a heartfelt "Hold On My Heart" and a rousing, pyro-laden finale of "Tonight, Tonight, Tonight" and "Invisible Touch."
What was lacking was a deft touch with the set list. A few more strategically placed hits, with the heavier stuff sandwiched in between, would have served both audiences (and both bands) much more effectively.
Clarence Merrill"We are huge fans and were not disappointed in the least. Absolutely loved the show. ... The reporter from Flint had it all wrong. He needs to get over Peter (Gabriel) not being there. I too felt sad to hear some of the songs done minus Peter, but I still love his solo material almost equally as well.
Richard Kelley"It was wonderful to see them begin the show as a cohesive unit NOT as Phil Collins and his backup band, Genesis. When he did come down from the drum riser to "Turn It On Again," the most attention-getting aspect of the formerly self-absorbed rocker's presentation was the contrast between his now entirely bald head and black-dyed eyebrows.
"The fifth song performed, 'In The Cage' was amazing. My jaw is agape 24 hours later even if we DID have to sit through tripe like "Hold On My Heart" which immediately followed. Unlike the 1992 tour where Phil and the boys begrudgingly played a budget medley of their Gabriel-era work, they seemed to genuinely embrace all facets of their history, although I found it interesting nothing was performed from 'Abacab.'
"The video screen was most spectacular but apparently negated the use of the phenomenal stage lighting for which Genesis was renowned. Songs like 'Ripples' and 'Follow You, Follow Me Me' felt sterile and one-dimensional compared to their imaginative laser and intelli-beam effected presentations of yesteryear. Instead we watched the effects on big-screen TV which, while stunning, left you feeling a tad removed from the experience.
"The band played in an absolutely stunning fashion and for a long time. We didn't get out of the Palace until well after 11 p.m. My butt is still draggin', but it was well worth the trip. I'm sorry to read there are no plans to continue the tour as it would be great to see them at (Van Andel Arena). Apparently the $200-plus tix were a harder sell than anticipated and secondary markets like us would no doubt go ballistic."
John SinkevicsIt wasn't a sellout and the band didn't play hits such as "Abacab" or "Misunderstanding," but some Grand Rapids prog-rock fans were darned glad they made the trip to the Palace of Auburn Hills on Sunday night to catch Michigan's first Genesis concert in 15 years.
"I thought it was fantastic," Don Lomonaco, 32, of Grand Rapids, told me immediately after the show. "The entire band is still solid, excellent musicianship, very entertaining, definitely worth it."
The band -- lead singer/drummer Phil Collins (who played drums about 40 percent of the time), guitarist/bassist Mike Rutherford and keyboard player Tony Banks, along with drummer Chester Thompson and guitarist/bassist Daryl Stuermer -- played a 2.5-hour show that featured a snazzy video backdrop with impressive visuals.
The set was heavier on older material and extended jams than the group's last show at the Pontiac Silverdome in the early '90s, according to fan Tim Hamm, 42, also of Grand Rapids.
"Phil is doing more of the longer, old stuff like extending 'I Know What I Like (In Your Wardrobe)' (from 1973's 'Selling England by the Pound') and saving 'The Carpet Crawlers' (from 1974's 'The Lamb Lies Down on Broadway') for the end," Hamm said. "I had expectations of seeing the same show I saw live some 15 years ago. But it was much updated and more tailored to the prog-rocker. There were a lot more instrumental sections (including a 20-minute drum solo at one point that featured both Collins and Thompson)."
Other songs that Genesis (still missing Peter Gabriel, of course) dusted off included "Ripples," "Behind the Lines," "Duke's End," "Firth of Fifth," "Follow You, Follow Me," "Land of Confusion," "Throwing It All Away," "I Can't Dance," "Invisible Touch," "Firth of Fifth" and "Mama."
James BrownSaw the Detroit show last night and was very happy with the show. The started a little after 8pm and finished just before 11. Great show, great sound, great music...damn, they should do this more often. I'm thinking of getting a seat for Chicago for Thursday night.
One bright spot was when I was at my seat (on the floor, second section center about 10 rows in front of the sound board) I turned and saw this 'mature' gentleman with gray hair and beard....Tony Smith under some headphones at the board. The show hadn't started so off I went and introduced myself. I had a photo of some of the instruments I obtained and the Genesis auction several years back and asked if there was a way I could bring them to Chicago for an autograph by the previous owner. "Sorry, but we're rather reluctant to do so. These go for charity purposes and well, we're just reluctant." So, I enjoy a few more words in a short conversation and back to my seat I went.
David SmithI wrote this review for a fellow Paperlater recently and please keep in mind that it is kind of a review and kind of a comparison to my Rome G experience:
I took my wife to this one so it had a different vibe to it, but it was absolutely great. Phil's voice was better (stronger and better high notes than Rome), I had a seat (unlike in the dusty field at Rome lol) and the sound was perfect. I purposely sat right next to the sound guy on the main floor so of course I heard what he heard which was perfect.
My good friend Bob had nose bleed seats and said it was not loud enough and the drums had a slap back echo, but that is what you get with shite seats I guess.
The Palace of Auburn Hills was about 99% sold out and the atmosphere was great. Phil actually had to quite us down at times because the crowd was so loud between songs and went on for so long. We also did the "Hey . . .Hey-Hey. . .Hey . . . .Hey-Hey-Hey" counting very well for the tambourine slap at the end of IKWIL, and I heard that other arenas fooked this up. We did it so well in fact that Phil looked almost stunned (and so was I for that matter), and he gave us a huge two thumbs up at the end.
Of course a lot of fans were there for Invisible Touch and crap like that (and really got into these cheesy songs), but it made the tour possible right? Anyway, there was plenty of us old farts there and the main floor stood up and sang or danced for each and every song except when Phil sat down on the stool for "Hold on my Heart." This is where I split and went and got a brew for me and the wife.
What was nice to see was that Phil was in better shape and actually did about twice the length of the Tambourine dance (during IKWIL) as he did in Rome and actually pulled it off without looking like an aging man imitating a young Phil Collins. He is getting stronger as the tour goes and the band tighter. I may be wrong on this (although I studied it very closely) but Tony's patches of the old instruments were not that noticeably bad this time. He has tweaked them
somehow, either in tone or something else because none of the patches stood out as at least embarrassing this time. I will have to re-evaluate this in LA at the Hollywood Bowl where I am headed next week. I did not notice any real fuck-ups from the band either this night, but did not expect them this late in the tour.
All in all it was a great time and Phil thanked the audience profusely for the years of support. . . . for the support that night, and just for always being there for the band. I know the set-list is not perfect for old guys like us, but you will enjoy the hell out of it if you go see the boys.
Deb PascoeFinally, after 16 years, I saw Phil (and Genesis!) live at the Palace of Auburn Hills (Mich) on Sept. 30. It was everything and more than I imagined. I was in row 21 on the floor, smack on the end of the middle aisle. He was as beautiful in person. And his voice was the voice that kept me afloat and helped keep me sober when my life was full of insanity. Seeing him in person was amazing.
I hope every one of you either got to see him (them) or will get to. It was incredible.
I've listened to "Domino" a million times since the concert. For some reason that particular song brings it all back for me.
They sounded great. Phil was full of energy and good humor.
Oh my God, I am still on cloud 9!