Before Genesis became the iconic progressive rock band we know today, its roots lay in two school bands at Charterhouse School: Garden Wall and Anon. Among these, Anon brought together the talents of Anthony Phillips, Richard Macphail, Rivers Jobe, Rob Tyrrell, and a young Mike Rutherford. On December 16, 1965, Anon performed their first live gig—the humble beginning of a legendary musical journey.
On November 21, 1982, Phil Collins embarked on a bold new chapter in his career: his first-ever solo concert. Held in Den Haag, Netherlands, this performance marked the start of his Hello, I Must Be Going! tour, a tour that defined his journey from Genesis drummer and vocalist to a global solo star.
As Genesis embarked on their ambitious The Lamb Lies Down on Broadway tour, which commenced on November 20, 1974, audiences were drawn into an elaborate fusion of music and visual storytelling that spanned 102 shows across the U.S., Europe, and the UK. The tour, running until May 22, 1975, was an unprecedented venture, marked by its innovation, chaos, and lasting legacy. But how did it become one of the most memorable and challenging chapters in Genesis’ history?
Genesis released their double live album Seconds Out in October 1977, capturing the band’s performance during the Wind & Wuthering tour. Recorded mainly at the Palais des Sports in Paris in June 1977, with one track from the Pavillon de Paris in June 1976, the album showcases Genesis at a pivotal moment in their evolution.
On July 13, 1985, Phil Collins was the only performer to appear on both Live Aid shows in London and Philadelphia.
Phil Collins is all over the world
In the mid-1980s, it seemed as if Phil Collins had already achieved everything: As a solo artist and as a member of Genesis he had number one hit singles, chart-topping albums and sold-out world tours. By 1985, his third solo album No Jacket Required had been a massive success and produced hit singles that topped the charts worldwide. Phil Collins’ music was all over the world – and so would he be on July 13, 1985.
Phil Collins made rock history
On July 13, 1985, Phil Collins made rock history. He did something that no-one had done before (and probably not since): He appeared live on television around the world twice in a day from two different continents. And as usual with Phil, this had not been an elaborate act of profiling himself as an artist. It had been for the benefit of millions of starving people in Africa. The two appearances onstage and on television had been part of Live Aid, two shows that had been organized by Bob Geldof. The man of the day however, was Phil Collins.
Live Aid
The famous Live Aid concerts from 1985 were the continuation of the Band Aid single ‘Do They Know It’s Christmas?’ from 1984, in which musician Bob Geldof had gathered many famous pop stars to raise money for the poor starving population in Ethiopia. The concept worked and half a year later, the Live Aid performances were celebrated with the same intention. There were two parallel concerts, one in London, one in Philadelphia, and the whole 80s pop world seemed to participate in the event. Phil Collins had already played drums on the the million-selling Band Aid single ‘Do They Know It’s Christmas’. He did not sing on it, as he had recently recorded his own solo album and duets with Philip Bailey and Eric Clapton and the record company told him not to sing anymore until his album No Jacket Required had come out and the tour that followed.
So what exactly happened on July, 13, 1985, ‘the greatest day in the history of pop music’? Phil Collins proved the impossible, playing at both shows. He appeared at Wembley Stadium in London in the early afternoon and played ‘Against All Odds’ and ‘In The Air Tonight’ alone at the piano.
‘lt was blisteringly hot, the white stage. lt was so hot and l made a terrible mistake on ‘Against All Odds’ on the piano’, Phil remembers. ‘l thought, ‘Oh God, what a good start for the day this is.”1 The bum note was not only heard in front of 80,000 people in Wembley, but also by a global telly audience of 1 billion people.
Then he was joined by his friend Sting on guitar and vocals for ‘Long Long Way To To’ off No Jacket Required (Sting had also provided backing vocals for the studio version). Then the duo played ‘Every Breath You Take’. Afterwards, Phil left the stadium, crossed the Atlantic with a Concorde, and played his solo songs in Philadelphia the same way he did in London. In Philadelphia, he also joined his friends Eric Clapton and Led Zeppelin. Phil had arrived at the John F. Kennedy Stadium at 7pm, was at the show at ten past, went to Eric to ask what they would play and then went onstage with him at 7.30pm. In between, he also rushed to Robert Plant’s caravan to have a chat with Led Zeppelin about their gig. This pretty much sums up the energy of Phil Collins in the 1980s.
Phil Collins had been an international superstar at this point, but his legendary performances as the only one who appeared at both Live Aid shows, certainly boosted his profile as a solo artist and personality.
Live Aid – The aftermath
Looking back, Live Aid was a terrible example of using clichés. It is the prime example of ‘rock musicians trying to help poor Africa’. The intention was certainly good, the realization was maybe good-hearted, but not that effective. The Christmas single with its awful lyrics (‘Do they know its Christmas time at all?’ – this is colonial thinking at its best) and the Live Aid performances raised a lot of money and made people aware of the problems, but the result was that much, if not all, of the money was taken by the corrupt Ethiopian government. They used it to prop up the brutal dictator Mengistu. Furthermore it turned out that part of the relief donations were diverted by a rebel group to buy weapons. And also, very little food and medicine left the port cities of Assab and Massawa. It was more important to unload military hardware from Soviet ships, leaving hundreds of thousands of tons of food rotting on the docks. Bob Geldof, founder of Live Aid, was seen on TV with Mengistu, smiling and joking around, as he handed over the famine money.
Geldof had actually been warned about Mengistu and his dismantling of tribes, resettlement marches and slaughterings in which 100,000 people died. However, here one can see how the charity for ‘poor Africa’ can turn out and how someone like Geldof, who might have had his best interests, can turn his favours against himself.
For Phil Collins, playing at both concerts helped him gain even more popularity and becoming a proper international superstar. He also helped the event to become even more memorable.
Title photo: Live Aid at JFK Stadium, Philadelphia, PA. Source: Wikimedia Commons, own work. Author: Squelle. / CC-BY-SA-2.5 (https://creativecommons.org/licenses/by/3.0).
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Phil Collins – A Life Less Ordinary (Documentary – 2002) ↩︎
On July 4, 1987, Genesis finished their gigantic Invisible Touch tour at Wembley Stadium. It was the fourth sold out night in a row at Wembley.
Invisible Touch
In 1986, Genesis released the album Invisible Touch. It became their most successful album, peaking at #1 in the U.K. and #3 in the U.S. It produced five hit singles: ‘Invisible Touch’, ‘Tonight Tonight Tonight’, ‘Land of Confusion’, ‘In Too Deep’ and ‘Throwing It All Away’. Songs like the title track, ‘Tonight, Tonight, Tonight’ and ‘Land Of Confusion’ with its famous spitting image video would dominate the radio and music TV stations and the international charts of 1986/1987. Genesis were everywhere and bigger than ever. So of course, the band went on a massive tour through North America, Australia, Japan and Europe before finishing in Britain with four sold-out nights at Wembley Stadium in front of 300,000 people.
Purchase Invisible Touch here on Amazon!*
The Invisible Touch tour
The tour began in the U.S. in September 1986 and included 112 dates and sold close to two million tickets. It ended in July 1987. In Australia and New Zealand, the five-man line-up was accompanied by a four-piece string section on ‘In Too Deep’ and ‘Your Own Special Way’. They had to invite the quartet because of local regulations that required them to employ local musicians.
At this time, the band was not only a hit-machine, but a working and brilliant live act. The Vari Lite light show was impressive as always. The band had much material to rely on, but chose mainly new songs from their hit album and the albums before.
The shows were always opened with ‘Mama’ (which sometimes lacked a bit of atmosphere in daylight) and ended with the ‘Turn It On Again’ hit medley that the band had established on the previous tour. The medley included ‘Everybody Needs Somebody to Love’, ‘Satisfaction’, ‘Twist and Shout’, ‘Pinball Wizard’, ‘All Day and All of the Night’ and ‘Karma Chameleon’.
Older songs in the set included ‘Los Endos’, ‘Home By The Sea’ (including it’s meanwhile standard ghost-story introduction) and another ‘In The Cage’ medley. When the tour began, they had played ‘In That Quiet Earth’ and the second half of the epic ‘Supper’s Ready’ after ‘In The Cage’. However, during the tour Phil had difficulties reaching the higher notes in ‘Supper’s Ready’, so by the middle of the tour they had gone back to the usual ending of ‘In That Quiet Earth’ and ‘Afterglow’.
New songs included ‘Domino’ (with another – soon to be famous – introduction by Phil), ‘Tonight, Tonight, Tonight’, ‘Throwing It All Away’, where the call-and-response singing developed throughout the tour, and ‘Invisible Touch’ itself.
Live at Wembley Stadium
‘Nearly 300,000 people at Wembley. OK, there might have been a few repeats in there, but I thought at the time, and I still think now, that moment was the peak of our career’1 – Tony Banks.
By the time Genesis got to Wembley, they had performed the set so often that it had become a true piece of fine art and musicianship. Interestingly, only two shows were scheduled at Wembley, but the demand for tickets was so high, that a third and then a record-breaking fourth night were added. Genesis ended in Guinness World Records until Michael Jackson sold out Wembley Stadiums on seven nights on his Bad World Tour one year later.
The Wembley shows were filmed and released as video and as DVD in 2003. Unfortunately the famous ‘In The Cage’ medley was left out of the release because on every night, the tapes had to be changed during that song.
Apart from that, the results and the performance are astonishing. The band truly ended the tour on a high note there. Looking back at the videos and listening to the songs and performances, we can say that Genesis were at their peak at this very point at Wembley Stadium. Afterwards, the fans had to wait four more years for a new Genesis record.
Title photo: Genesis Nancy 1987. Phil Collins, Tony Banks, Mike Rutherford, Daryl Stuermer, Chester Thompson. Genesis en concert à Nancy le 14 juin 1987 au stade Marcel-Picot de Nancy-Tomblaine Source: Wikimedia Commons, Fredamas / CC-BY-SA-2.5 (https://creativecommons.org/licenses/by/3.0).
On July 3, 1977, Genesis played the last show of their Wind And Wuthering tour and (unbeknown to them at that point) also the last show with lead guitarist Steve Hackett.
Wind And Wuthering
In December 1976, Genesis had released Wind and Wuthering, their second album since Peter Gabriel’s departure. The band had become a foursome the year before, drummer Phil Collins had taken over the vocal duties. He had proved that he could fill this role easily on the previous album A Trick of the Tail and the following tour in 1976.
By this point, keyboardist Tony Banks and guitarist/bassist Mike Rutherford were the main songwriters with Phil Collins being more of a player and arranger. Guitarist Steve Hackett felt that not enough of his material was used. He was frustrated about his role in the group and decided to leave Genesis after the 1977 tour.
The Wind & Wuthering tour
The band set out for a huge tour in 1977 that would lead them to South America for the first time and through Europe and the US. On drums, they were accompanied by American drummer Chester Thompson. It was his first tour with them and he would remain with the band as a live drummer until 2007 (with a short interruption in the 1990s).
Genesis reached a new peak in live performances and was voted ‘Best live group’ in 1977. This was captured in the double live album Seconds Out.
The last show
The last show of the tour (and also Steve Hackett’s last show as a member of Genesis) took place in the Olympiahalle, Munich, on July 3, 1977. They opened the set with ‘Squonk’ as they had done throughout most of the tour, then they played ‘One For The Vine’, a Banks composition from the new album. ‘Inside And Out’ from the recent EP Spot The Pigeon was added on some European dates and was also played in Munich. Among the highlights of the show were songs like ‘The Carpet Crawlers’, ‘I Know What I Like’ and ‘Supper’s Ready’, some of which had changed a lot since the days when Peter Gabriel sang them. Also, the band had started to play medleys on the tour before and continued to do so on the Wind & Wuthering tour. ‘Dance On A Volcano’ and ‘Los Endos’ were combined as well as ‘The Lamb Lies Down On Broadway’ and the closing section of ‘The Musical Box’. The band also played ‘Firth Of Fifth’ that night in which Steve plays the famous guitar solo. Neither the fans nor the band knew that they had witnessed him playing it live for the last time.
Steve leaves the band
Steve Hackett had been the first Genesis member to record a solo album. There, he included some of the music that was not used on Genesis albums. During the period as a four-piece-band, he wanted to have a certain percentage on each album for his own songs. The others disagreed; they were a democratic band. So he started recording solo albums and felt that his input on Genesis albums became less and less.
Also, when the band mixed the live album Seconds Out in July 1977, he could not stand listening to tracks like ‘I Know What I Like’ anymore after having played them for months at this point. Also, he felt that after playing shows with audiences of 20.000 people, there was nothing new to strive for. So one day he phoned Mike Rutherford and told him he wanted to leave. Mike knew that Steve had been unhappy in Genesis for some time, so he did not try to talk him out of it. Later that day or the following day, Phil Collins drove from West London to Trident Studios, where they mixed the live album. He passed Steve on the street and told him to jump into the car. Steve acted a bit oddly, said ‘Speak to Mike, he’ll explain’ and went off. When Phil arrived at the studio, Tony and Mike informed him that Steve had left the band.
The three remaining members then went on mixing Seconds Out and afterwards went into the studio to record their next album. They would remain a three-piece-band in the studio for the rest of their career and Steve Hackett would continue his career as a solo artist.
Title photo: Genesis Steve Hackett. Source: Wikimedia Commons, Jean-Luc / CC-BY-SA-2.5 (https://creativecommons.org/licenses/by/3.0). Originally posted to Flickr as Genesis.
On June 26, 1971, Genesis appeared at Reading Festival for the first time.
Peter Gabriel had broken his ankle
On their first appearance at Reading Festival, Genesis were low on the bill. Other artists that performed at the festival were Lindisfarne, Terry Reid, Renaissance and Sha Na Na. There were the usual problems that a festival and its visitors have to deal with: Rain, mud and an unscheduled police squad. For Genesis, the gig at Reading followed the incident at the Friars Club, where Peter Gabriel had broken his ankle.
On June 19th, Genesis had played at Friars in Aylesbury and during the encore of ‘The Knife’, Peter Gabriel had jumped into the crowd. Unfortunately, the audience parted when they saw him coming and he hit the floor, breaking his ankle. Following the incident, he played at least one show in a wheelchair at the art college in Lincoln. Tour manager, roadie, sound engineer and friend of the band Richard Macphail remembers: ‘And it scared the pants of me, because the stage was like a traditional theatre stage that sloped towards the audience. He was wildly cavorting in this wheelchair on this stage. I thought he was going to fall off the stage and break his neck!’1Luckily, he did not and the band could play Reading Festival at June 26, 1971.
Reading Festival
The 11th National Jazz and Blues festival took place in Reading for the first time that year. Before, the event had taken place in Richmond, Windsor, Sunbury and Plumpton, but each time, the locals had complained, so the festival had to move on. The festival usually takes place in August, so admittedly it is a bit unclear to the author why the festival took place on 25, 26, and 27 June 1971. The ticket names the location as ‘Thames-side Arena, Richfield Avenue’ and the festival is titled ‘Reading Festival of folk and progressive music’. The ticket for Saturday, June 26, cost £1.50.
Over the next few years, the festival would become one of the leading British rock festivals. Not only the greatest bands of the age played there, but it was also the birthplace for future superstars. Organizer Harold Pendleton was allowed to stage the festival in Reading, because the local council wanted to celebrate the town’s 1000th anniversary and really believed it to be a jazz and blues festival, which it had originally been in the 1960s.
Genesis performed on Saturday
In 1971, Genesis was not the only act of Charisma Records that played at Reading Festival. As mentioned, Lindisfarne were there as well as Van der Graaf Generator, and Bell & Arc and Audience. Other notable acts that year were Arthur Brown, Rory Gallagher, Wishbone Ash, Medicine Head, Osibisa, Ian Matthews and Ralph McTell.
Due to their low billing, Genesis played midafternoon on the second day of the festival. Their performance was highlighted as one of the best of the event, and consequentially, they were invited back for the next two festivals.
During the summer of 1971, Genesis started to appear at outdoor rock festivals. Steve Hackett remembers that it used to rain for the first five years they played at festivals in England or Europe, always resulting in a mud bath. At Reading Festival, the power was fluctuating and the band could not get the organ in tune (and that meant that the Mellotron would be even worse to tune). They also tuned their twelve-string guitars in the dressing rooms and by the time they got on stage, they were already out of tune. Tuning a twelve-string guitar in front of an audience was almost impossible.
Not a festival band
Tony Banks thinks that Genesis were never a good festival group. It was difficult to build a dramatic atmosphere in daylight and most of the audiences did not really understand the long song with lots of chord changes. Also, the sound was mostly rubbish. Nevertheless, they builded a live following and got a reputation of being a good live band for festivals, but the best times were when they could play after dark at the end of a day with their own fans in the audience. However, at their first appearance at Reading, they already got some fans waving their Genesis flag during the gig.
Photo: Reading Festival Line Up 1973. Reading-festivaalin vuoden 1973 esiintyjälista Source: Wikimedia Commons, National Jazz, Blues and Rock Festival. / CC-BY-SA-2.5 (https://creativecommons.org/licenses/by/3.0).
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Platts, Robin, Genesis. Behind the lines, 1967-2007. (Burlington, Ont., Canada: Collectors Guide Pub., 2007), p. 44. ↩︎
Genesis played their first gig abroad in La Ferme, Woluwe St. Lambert, Belgium on March 7, 1971. This is the story of their first gig overseas.
‘Trespass’ had charted in Belgium
In early 1971, the band had not yet been very successful in the UK. But things looked different on the continent: Trespass* had reached number one in Belgium. Subsequently, the band with their new members Phil Collins on drums and Steve Hackett on guitar went there to play their first gig overseas.
The band could not afford cabins on the ferry
They crossed the channel on the night ferry and arrived the next morning. They had not slept, as they could not afford bunks and had therefore sat on the boat overnight with Phil throwing up. Getting through the day with beer and sandwiches, they drove straight to the gig and played.
The setlist
The setlist included a mixture of songs from Trespass, live favourites and two new songs. As usual during that time, Genesis started with acoustic material and then built up to the heavier numbers. Luckily for us, a recording of the gig exists so we can listen to almost the whole gig (some bits are missing). It also includes the only available recording of the famous song ‘The Light’, which features embryonic elements of later songs, notably ‘Lilywhite Lilith’.
Starting with acoustic numbers, the first song was their newest one. ‘Happy The Man’ (introduced by Peter as a song about a ‘man who eats his fingernails, probably’) is based on a Mike Rutherford riff and includes a Lindisfarne-like sing-along chorus. It was an attempt by the band to produce a hit single. The song was played a bit slower on that gig and has a very laidback attitude. ‘Stagnation’ from Trespass follows (according to Gabriel a song about people ‘with bad breath’) and Phil’s drumming adds a swing that the studio version misses.
The Light
Several minutes and attempts to introduce the band follow, then Genesis play the rare track ‘The Light’. The bass intro later became the verse of ‘Lilywhite Lilith’ on The Lamb Lies Down On Broadway* with Hackett’s guitar parts also being reused. ‘The Light’ then turns into a prog rock song with a long jam between Banks and Hackett until the nice harmony vocals go back into a part that is familiar from the later ‘Lilywhite Lilith’. In comparison to other songs of the time, ‘The Light’ seems very unusual for Genesis.
A mixture of songs from Trespass, live favourites and new songs
It is getting a bit quieter when ‘Twilight Alehouse’ begins, a live standard at the time in which Tony dominates on the dramatic organ passage in the end. Peter then introduces the other new song ‘The Musical Box’ in English and French and the live version is slightly different to the album version. There is some extra music before the ‘And the clock’ part, which is sung twice. Tony’s solo is longer and Steve’s shorter as he had only been in the band for two months. Even the iconic ending of this classic Gabriel-era tune is sung a bit differently by Peter.
The Trespass-classic ‘The Knife’ is introduced in French and the whole band rushes into the song. Tony’s organ leads them, Mike’s bass is the driving force, Steve still seems to have some trouble with the guitar solos, but is shining at the end. Peter’s flute part from the middle is unfortunately missing from the recording. The audience seems to have loved it; they applaud enthusiastically. The live classic ‘Going Out To Get You’ is the encore, described by Peter as ‘A very old number about passion’. Again, Tony leads the band and Steve seems to be non-existent on the track. It even sounds as if he is not playing with the rest of the band on this last song.
It is interesting to listen back to the recording as it not only consists unreleased songs, but also songs that were still being created lyrically and musically. And of course it features the only known recorded version of the rare track ‘The Light’.
An important gig in Genesis history
The show was a success and a very important gig in Genesis history. At the end of this trip, they took the ferry back to the UK, completely exhausted with Phil limping home, almost collapsing.
Photo: FOH PA mixing desk and associated gear for Genesis at a concert in the Liverpool Empire, 1970s, precise year unknown. Source: Wikimedia Commons, Rodhullandemu / CC-BY-SA-2.5 (https://creativecommons.org/licenses/by/3.0).
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