Category: Live

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Peter Gabriel’s First Solo Gig

Peter Gabriel’s first performance as a solo artist took place at the Capitol Theatre in Passaic, New Jersey, on either March 2, 3, or 5, 1977.

The Album and the Tour

His debut album, Peter Gabriel, had been released in February 1977 and featured the hit single “Solsbury Hill.” Just like the album, the tour carried the motto: Expect the Unexpected. Gabriel assembled a band of top studio musicians and old friends to bring his new music to life.

Photo of Tony Levin during his visit to Caracas (Venezuela), playing bass for Peter Gabriel.

One of those musicians was Tony Levin on bass. Having already worked with artists like Paul Simon, Levin joined Gabriel for this tour and has been with him ever since. In fact, he remains the only musician from that first album who still plays with Gabriel today.

The rest of the lineup for the first gig and the initial leg of the tour included Allan Schwartzberg on drums, Larry Fast on synthesizers, Steve Hunter on guitars, Jimmy Maelen on percussion, and Phil Aaberg on keyboards.

A somewhat surprising addition to the tour was Robert Fripp, who had played on the album and joined as a live guitarist under the alias “Dusty Rhodes.” Fripp, known for his distaste for the traditional rock-tour experience, often positioned himself behind the amplifiers or even offstage. He preferred to be introduced as “the completely unknown Dusty Rhodes.”

When Was the First Show?

The exact date of Gabriel’s first solo performance remains uncertain, with sources citing March 2, 3, or 5. Regardless of the precise date, the opening of the show was both deliberate and striking. Gabriel took the stage alone, performing “Here Comes the Flood” with only his voice, piano, and Fripp’s guitar. It was a bold statement – shedding the elaborate masks and costumes of his Genesis days and presenting himself simply as a musician, dressed in jogging clothes.

The full band joined in for the second song, “On the Air,” with its driving synths instantly energizing the crowd. “Moribund the Burgermeister,” which some saw as a callback to his Genesis style, felt a bit rigid in its live rendition. But “Solsbury Hill,” his first solo hit, resonated with the audience, particularly with American fans who had discovered him through the song. Live, the tracks sounded less orchestrated than on the album – leaner, punchier, and more aggressive.

Surprising Cover Songs and a Relaxed Band

Alongside his solo material, Gabriel included a few unexpected cover songs in the set. Marvin Gaye’s “Ain’t That Peculiar” paid tribute to his love of soul music, while The Kinks’ “All Day and All of the Night” was performed with a raw, heavy edge. The mostly American backing band was not only professional but also visibly enjoying themselves – especially during the R&B cover. The atmosphere on stage was relaxed and playful, something that even well-established bands sometimes struggle to achieve live. Gabriel himself seemed to revel in the experience.

The Fans’ Expectations

For the encore, Gabriel returned to the stage in Rael’s signature leather jacket, jeans, and T-shirt to perform “Back in N.Y.C.” from The Lamb Lies Down on Broadway. He was well aware that fans expected both his solo material and some Genesis songs. Throughout the show, some attendees had expressed disappointment at the minimal staging and the exclusive focus on his solo work. However, when he launched into “Back in N.Y.C.,” the audience erupted, leaving them wanting more.

And they got it. Peter Gabriel went on to become a hugely successful solo artist with a unique and ever-evolving career. Looking back today, his time with Genesis is merely a footnote in a career that firmly established him as one of the most distinctive voices in music history.

Photo: Peter Gabriel, Chateau Neuf, Oslo, Norway. Description=Peter Gabriel at Chateau Neuf in Oslo, Norway on August 31st 1978 |Source=http://www.helgeoveras.com/gabriel.shtml |Date=August 31st 1978 |Author=Helge Øverås (https://creativecommons.org/licenses/by/3.0).

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The ‘Turn It On Again’ Reunion Tour

On 11 June 2007, Genesis kicked off their long-awaited ‘Turn It On Again’ reunion tour in Helsinki, marking the official return of Phil Collins as lead vocalist.

The Reunion Announcement

On 7 November 2006, Tony Banks, Mike Rutherford and Phil Collins held a press conference to announce that Genesis would reunite for a European summer tour in 2007, followed by a North American leg in the autumn. It was the first time Collins had officially rejoined the band since leaving in 1996, despite a few brief appearances over the years.

Joining them on stage were longtime touring members Chester Thompson (drums) and Daryl Stuermer (guitar/bass), both of whom had not performed with Genesis since the We Can’t Dance Tour in 1992.

Rehearsing After 15 Years

The band’s first full show was scheduled for 11 June in Helsinki. With no new album to promote, Genesis had the freedom to revisit their extensive back catalogue. But rehearsing after a 15-year hiatus came with unexpected challenges.

Tony and Mike not only had to relearn many of the songs, they also had to transpose them to accommodate Phil’s deeper vocal range. Phil, in turn, had to reacquaint himself with lyrics, particularly those written by Tony Banks, which he had always found tricky. Songs like “Domino” and “Home By The Sea” with lines such as “Sheets of double glazing” or “Nylon sheets and blankets” had always tested his memory.

Listening back to past live performances, Phil noticed how often he had deviated from the original songs. For this tour, he made a conscious effort to stick to the original versions.

On top of that, he had to get back into Genesis drumming shape. While he had continued to play on solo tours, most notably during “In the Air Tonight”, tackling complex pieces like “Second Home By The Sea” required serious effort. Thankfully, Chester and Daryl were there to support the process, with Daryl even helping Tony and Mike remember their own parts.

Despite the time apart, the old chemistry was still intact. In fact, the dynamic between the three had improved. Tony and Mike had mellowed with age, while Phil had grown more serious. This allowed them to communicate more openly, discussing things they wouldn’t have dared bring up 15 years earlier.

The Setlist

Genesis had a vast library of music to choose from and the setlist reflected that. Fan favourites like “Follow You Follow Me”, “Invisible Touch”, “Mama”, and “I Can’t Dance” were all included.

One highlight was a heavier version of “Land of Confusion”, clearly influenced by Disturbed’s popular metal cover. It gave the song a modern edge and fresh energy.

The band also included more intricate tracks from the later years, such as “Domino” and “Home By The Sea”, two of Tony Banks’s personal favourites. They opened the show with a medley titled “Duke’s Intro”, combining the instrumental from “Behind the Lines” with a section of “Duke’s End”. It made for a powerful, dramatic opening that set the tone for the entire night.

Phil played more drums than he had on previous tours, and for “I Know What I Like”, he even brought back the iconic tambourine dance from 1976, something he had to rehearse again after years off.

Two surprises in the setlist were “Ripples”, from 1976’s A Trick of the Tail (Phil’s first album as lead vocalist), and a fragment of “Duke’s Travels”, which was folded into a medley. In fact, the set covered nearly every album from 1973 onwards. Each show ended on a high note with the emotional “Carpet Crawlers”, a beloved classic from The Lamb Lies Down on Broadway.

Behind the Scenes

Stage design for the tour was handled by the legendary Mark Fisher, while Patrick Woodroffe created a stunning lighting design. A massive screen behind the band displayed visuals tailored to each song, giving every track a unique atmosphere.

Nick Davis oversaw the live sound, and the band partnered with the Encore Series to offer high-quality soundboard recordings of every show, making each concert available to fans.

Opening Night in Helsinki

The tour kicked off in Helsinki on a warm summer night. The band delivered a flawless performance, the visuals hit every cue, and fans were thrilled to see Genesis live once again.

Phil would later reflect that while many had hoped for a new Genesis album, the ‘Turn It On Again’ tour felt more like a farewell than a comeback. The band continued through North America in the autumn before bringing the curtain down.

Looking back, all involved agreed: the best part of the tour wasn’t just the music, it was the joy of being back with old friends and laughing together again.

Photo: Genesis, ofwel: Phil Collins, Michael Rutherford, Tony Banks, Chester Thompson en Daryl Stuermer.}} |Source=Maikel Koek, via Wikiportrait |Date= |Author=Maikel Koek |Permission={{Wikiportrait|2008041010026495}} (https://creativecommons.org/licenses/by/3.0).

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The Last Show of “The Lamb” Tour – and Peter Gabriel’s Final Genesis Gig

On May 22, 1975, Genesis played the final show of their ambitious The Lamb Lies Down on Broadway tour. It would also mark the last time Peter Gabriel performed with the band as lead vocalist.

The Lamb Lies Down On Broadway: A Bold New Chapter

In 1974, Genesis entered the studio to record their most ambitious project yet: The Lamb Lies Down on Broadway. The double concept album told a surreal and complex story by Peter Gabriel, following a Puerto Rican teenager named Rael as he journeys through a strange underworld beneath New York City.

The urban American setting was a dramatic shift from the band’s earlier tales rooted in British folklore and fantasy. After touring North America, Genesis were aiming to break into the U.S. market. The Lamb was also their first true concept album (after an unsuccessful attempt on their debut), a hallmark of many progressive rock bands at the time.

Internally, however, tensions were mounting. Gabriel wrote all the lyrics and developed the story independently, while Tony Banks, Mike Rutherford, and Phil Collins composed most of the music during jam sessions at Headley Grange. Steve Hackett’s contributions were minimal, and the creative disconnect between words and music created friction. Only one track, “The Light Dies Down on Broadway”, had lyrics penned by Banks and Rutherford instead of Gabriel.

Behind-the-Scenes Tensions

Two key factors contributed to Gabriel’s growing estrangement from the band. First, he had attracted interest from The Exorcist director William Friedkin, who was keen to collaborate on a film. Gabriel was tempted, even considering leaving the band, but the project never materialized.

Second, Gabriel’s wife Jill gave birth to their first daughter, Anna, in July 1974. Complications following the birth drew Gabriel further away from the group. He was the first member to start a family, and this life change made him reassess his priorities and see a future beyond the band. His inner conflict bled into The Lamb‘s narrative, for example in the song “In the Cage,” where Rael cries, “Get me out of this cage!”

Upon release, The Lamb Lies Down on Broadway received mixed reviews and was commercially underwhelming. Ticket sales for the tour were below expectations, and several shows were cancelled. Though the album is now revered as a cult classic, its reception at the time was disappointing, particularly for Gabriel, who had poured his heart into the concept.

A Tour Like No Other

The band made the bold decision to perform the album in full on tour, even before many fans had a chance to hear it. Gabriel, already known for his theatrical costumes, pushed the visual spectacle even further, but it came at a cost. His elaborate outfits, including the infamous “Slipperman” costume, sometimes muffled his vocals or distracted from the music itself. The rest of the band grew frustrated, feeling the show had become more about theatrics than sound.

Technical problems were frequent. The stage used projected slides to accompany the story, but they often jammed or displayed out of sequence. In one infamous incident, a Peter Gabriel dummy meant to mirror him on stage was mysteriously swapped for a naked roadie. And during a song that required a small explosion, the production manager accidentally triggered a huge blast so loud that the band stopped mid-song. Peeking through the curtain, the crew member sheepishly said, “Sorry,” to which Phil Collins yelled, “You’re fired!”

Gabriel’s Departure

Midway through the tour, Gabriel made the decision to leave Genesis. Their manager Tony Smith was not surprised, but asked him to finish the remaining dates before making it public.

Gabriel’s final show with Genesis took place in Saint-Étienne, France, in May 1975. Ironically, it wasn’t meant to be the last show, but the scheduled final concert was canceled at the last minute. And so, without much fanfare, Peter Gabriel’s time with Genesis came to an end.

He had co-founded the band in 1967 alongside Tony Banks, Mike Rutherford, and Anthony Phillips. His departure, announced later that year, shocked fans and cast doubt over the band’s future. Could Genesis survive without their charismatic frontman?

As history would show — they could. And so could he.

Photo: Peter Gabriel in 1975. Photographer unknown. https://commons.wikimedia.org/wiki/File: Peter_Gabriel,_April_1975.jpg. Unknown author / CC0 (https://creativecommons.org/licenses/by/3.0).

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We Can’t Dance in Tampa – The Story of the 1992 Tour

Tampa, Florida, 17 May 1992. It was only the fourth night of Genesis’ massive We Can’t Dance tour when the band had to leave the stage early after just two songs. Phil Collins was suffering from throat problems, and the show was cancelled after Land of Confusion and No Son of Mine, leaving a restless crowd behind. Thankfully, it was a one-off incident. The We Can’t Dance tour would go on to become one of the band’s biggest productions ever, both in scale and ambition.

Let’s take a closer look at this monumental tour.

A Blockbuster Album: We Can’t Dance

Released in 1991, We Can’t Dance was Genesis’ 14th studio album and it became another global smash. Even after nearly 25 years in the business, the band were still topping charts around the world. The album spawned four hit singles: No Son of Mine, I Can’t Dance, Hold On My Heart, and Jesus He Knows Me. Each of them came with its own high-budget music video. I Can’t Dance and Jesus He Knows Me, in particular, stood out for their sharp humour and clever production.

Stadiums, Screens, and Scale: The We Can’t Dance Tour

Naturally, such a successful album deserved a tour to match. More than 60 shows were scheduled across North America and Europe in 1992. While Genesis weren’t entirely comfortable with stadium gigs, they ultimately preferred three months of large-scale shows over a ten-month arena tour. The goal was clear: keep the tour tight and efficient.

The production went up a notch: three massive Sony Jumbotron video screens were installed behind the stage, ensuring that fans even in the furthest rows could see the band up close. Rehearsals took place inside the enormous Goodyear Blimp hangar in Houston, one of the few places big enough to house the full setup.

The Setlist and the Line-Up

Tony Banks, Phil Collins, and Mike Rutherford were joined once again by their trusted touring musicians Chester Thompson (drums) and Daryl Stuermer (guitar and bass). After weeks of rehearsals, the setlist came together: mostly material from We Can’t Dance, along with select tracks from Invisible Touch and Genesis, and of course the classic encore Turn It On Again.

A 20-minute medley brought back highlights from the band’s 1970s output. It was a refreshing change from the long-standing In the Cage medley, which had featured in live shows for years.

Trouble in Tampa

The tour kicked off on 8 May 1992 in Texas. But disaster struck on night four in Tampa. Phil Collins’ voice simply gave out. He had always taken care of his voice while on tour, using various treatments when needed and he knew the crowd could sing along if he had to take it easy. But this time, he just couldn’t go on. After Land of Confusion and No Son of Mine, the band had no choice but to walk off stage.

Fortunately, Phil recovered quickly, and the rest of the tour went ahead as planned. The first leg concluded in August with a massive open-air concert at Knebworth Park, which was broadcast on Premiere. The second leg kicked off in the autumn, taking the band across the UK, a region they hadn’t toured extensively during the 1980s. They made up for it with multiple dates at London’s Earl’s Court, which were filmed and later released as The Way We Walk: Live in Concert.

The Way We Walk – Capturing the Tour

The tour also resulted in a live double album: Live – The Way We Walk, split into two volumes — The Shorts and The Longs. Rather than presenting an entire show in sequence, the band divided the material into their hit singles and their longer, progressive epics. Some fans didn’t love this format, but it made sense at the time: casual listeners knew the hits, while long-time fans appreciated the deeper cuts. Later editions of the album would restore the original running order.

The Last Dance (For a While)

Unbeknownst to fans and band members alike, the We Can’t Dance tour would be the last Genesis tour with Phil Collins until the 2007 reunion. It was also the final tour for Chester Thompson and Daryl Stuermer, at least for the next 15 years.

No one knew it at the time, but this was the end of an era. For many fans, 1992 was the last chance to see this iconic lineup live. But, as Genesis fans now know, there was more to come — eventually.

But that’s another story.

Title photo: Genesis Live- Land Of Confusion. Photo taken during the performance by Genesis of “Land of Confusion” in Knebworth, England (August 2nd, 1992). Source: Wikimedia Commons, Manny Hernandez/ CC-BY-SA-2.5 (https://creativecommons.org/licenses/by/3.0).

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Live at the Roundhouse 1970

On March 11, 1970, Genesis played one of the most significant gigs of their early career at the Atomic Sunrise Festival at London’s legendary Roundhouse. The event, sponsored by Yoko Ono, featured artists such as David Bowie and Hawkwind. Just weeks later, Genesis signed their first major record deal with Charisma Records.

Genesis in Early 1970

At the start of 1970, Genesis were busy writing and rehearsing new material for their second album. Their debut album had failed to chart, and they had parted ways with producer Jonathan King and Decca Records. Determined to take a new direction, the band moved away from the pop-oriented style of their first record and embraced a more adventurous, experimental sound. At the time, Genesis consisted of: Peter Gabriel (vocals), Tony Banks (keyboards), Ant Phillips (lead guitar), Mike Rutherford (guitar and bass) and John Mayhew (drums).

Opening for David Bowie at the Roundhouse

Still an unknown band, Genesis saw the Atomic Sunrise Festival as a huge opportunity – especially since they were set to open for David Bowie.

Both Tony Banks and Peter Gabriel were big Bowie fans. Space Oddity had been released the previous year, and Bowie was already a rising star. His live shows at the time were highly theatrical, something that fascinated Gabriel. A few years later, Genesis would gain recognition for their elaborate stage performances, partly inspired by Bowie’s dramatic approach.

However, not everyone in the band was equally enthusiastic. While Gabriel was impressed by Bowie’s visuals, Banks felt that the theatrical elements took too much attention away from the music. This difference in perspective would later lead to tensions within Genesis, especially as Gabriel began incorporating costumes and masks into their own performances – something that divided opinions among the band.

The Atomic Sunrise Festival and Yoko Ono’s Involvement

At the Atomic Sunrise Festival, Genesis performed songs that would later appear on their second album, Trespass, including “Looking for Someone” and “The Knife” – both of which were captured in surviving video footage. It is also believed that they played “Twilight Alehouse”. In later interviews, Ant Phillips joked that this footage is the only visual proof that he ever performed with Genesis.

Despite the significance of the gig, the band’s experience was not entirely positive. Gabriel recalled that there were more people on stage than in the audience, and Phillips was so nervous that he could barely play – a stage fright that would later contribute to his decision to leave Genesis.

Still, both Banks and Phillips were impressed by the professionalism behind the scenes. Every performance at the festival was recorded on 8-track equipment, and parts of it were filmed. Since the event was backed by Yoko Ono, there’s a possibility that the full footage still exists somewhere in the Apple Records archives.

A few weeks after the show, Genesis signed with Charisma Records, and by the end of the year, they released Trespass. But changes were already on the horizon – Ant Phillips left the band, and a new drummer joined in the summer of 1970… but that’s a story for another time.

Title photo: Genesis mixing desk 2 – Revox A77 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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Phil Collins’ First Show as Genesis Frontman

In 1975, Peter Gabriel left Genesis, leaving the band without a lead singer. After auditioning several vocalists without success, drummer Phil Collins reluctantly stepped up to take on the role. He sang on A Trick of the Tail (1976), the band’s first album after Gabriel’s departure. But while he handled the studio vocals, he wasn’t eager to become the band’s frontman on tour.

This is the story of how Phil Collins took center stage.

Phil Collins Didn’t Want to Be the Singer

A Trick of the Tail proved that Genesis could continue without Peter Gabriel. The album was a success, and Phil’s vocals shone on both the heavier tracks like Dance on a Volcano and the softer moments of Ripples.

Yet, despite his strong performance, Phil had no desire to be the band’s singer. He saw himself first and foremost as a drummer.

‘I’ve always felt the singer was the cheapest gig in the band, ’cause all they had to do was look good and wiggle their bum,’ he later admitted. ‘I always wanted the most respectable part in the group, which was of course the drummer.’1

When it came time to tour the album, Phil hesitated. He agreed to take on the lead vocals under one condition: he needed a drummer he could trust. That drummer was his friend Bill Bruford of Yes, who joined Genesis for the tour.

On March 26, 1976, Genesis played their first show with Phil Collins as frontman in London, Ontario.

Could He Replace Peter Gabriel?

Fans knew from the album that Phil could sing, but how would he handle the older material? Fortunately, his voice was naturally similar to Peter Gabriel’s, and he had already sung backing vocals on many classic Genesis tracks. His performances of songs like The Lamb Lies Down on Broadway, Firth of Fifth, and Supper’s Ready proved he was up to the challenge.

The new material was also well received. On Robbery, Assault & Battery, Phil brought the song’s Victorian-era story to life with his acting skills, while the instrumental Los Endos became even more powerful live, thanks to the addition of a second drummer.

Bringing in Bill Bruford was the right move. As a respected figure in progressive rock, his presence reassured fans. His intricate playing added a new dimension to Genesis’ music. While Bruford and Collins played off each other in a more unpredictable way, later drummer Chester Thompson would lock in with Phil to create the band’s signature double-drumming style.

A Warm Welcome for the ‘New’ Singer

Genesis fans wanted this lineup to succeed – and they embraced Phil’s new role. He brought a down-to-earth charm and a touch of Monty Python-style humor to the stage. The band seemed more relaxed, with the spotlight no longer focused solely on the singer.

During I Know What I Like, Phil got the other members involved, playfully placing hats on their heads and sharing a mic with Mike Rutherford. He even debuted his now-famous tambourine dance.

Where Peter Gabriel had been the mysterious storyteller, Phil Collins was the approachable everyman. He didn’t weave surreal tales; he spoke to the audience directly. Even Peter himself later said he was happy that Phil took over, recognizing that Phil was a stronger technical singer and had a natural connection with audiences.

Phil was nervous that first night in London, Ontario, but the show was a success. Genesis continued with him as their frontman for the next two decades – except for a brief period in the ’90s when Ray Wilson took over after Phil’s departure.

But that’s another story.

Title photo: Mike Rutherford and Phil Collins of Genesis in 1977. Source: Wikimedia Commons, Jean-Luc Ourlin from Toronto ontario, Canada / CC BY (https://creativecommons.org/licenses/by/3.0)

  1. Genesis – A History ↩︎
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Genesis Kicks Off the Wind & Wuthering Tour at the Rainbow Theatre on 1 January 1977

On January 1, 1977, Genesis began their highly anticipated Wind & Wuthering tour with a series of three sold-out performances at London’s iconic Rainbow Theatre. These shows marked the beginning of a new chapter for the band, being the first with Chester Thompson as their touring drummer and the last with guitarist Steve Hackett. The stakes were high, and the performances lived up to every expectation, setting the tone for what would become one of the band’s most ambitious tours.

A New Era for Genesis

By the time Genesis took to the stage at the Rainbow, they were riding the wave of their recently released album, Wind & Wuthering. This was their second studio effort since Peter Gabriel’s departure and demonstrated the band’s evolving sound, shaped primarily by Tony Banks and Mike Rutherford. While Phil Collins had already proven himself a formidable frontman on A Trick of the Tail and its subsequent tour, Wind & Wuthering solidified the band’s status as a dominant force in progressive rock.

The Rainbow shows also introduced fans to a new dynamic on stage. Chester Thompson, who had played with Frank Zappa and Weather Report, stepped into the role of live drummer. Despite having just ten days of rehearsals to learn an extensive and complex setlist, Thompson impressed with his technical prowess and adaptability. Though initial reviews were mixed—with some critics finding his style less “exciting” than Bill Bruford’s—his chemistry with Collins and the band grew stronger as the tour progressed.

The Opening Night: 1 January 1977

Genesis opened their first show with “Eleventh Earl of Mar” from the new album, setting the stage with energy and precision. Fans were also treated to other Wind & Wuthering tracks, including the jazzy instrumental “…In That Quiet Earth” and the poignant ballad “Afterglow,” where Collins and Thompson recreated a stunning drum fill inspired by Zappa’s Roxy & Elsewhere. The setlist also revisited classic fan favorites like “Supper’s Ready” and “The Musical Box,” which now had a fresh groove thanks to Thompson’s jazz-rock sensibilities.

The performances weren’t just about the music. Genesis debuted a state-of-the-art stage setup, featuring computer-controlled laser lights and Boeing 747 landing lights, creating a mesmerizing visual spectacle. Despite the rise of punk rock, which critics claimed was overshadowing progressive rock, the demand for Genesis was undeniable—80,000 fans applied for just 8,000 tickets to the Rainbow shows.

Reflections on the Show

Peter Gabriel, who attended the Rainbow performances, reportedly sympathized with Thompson’s challenge of adapting to Genesis’ intricate material on short notice. However, the drummer’s confidence and skill became evident as he added his own flair to the band’s repertoire. Even tracks like “Squonk,” which some felt fell short compared to its studio version, showcased Thompson’s steady hand and growing familiarity with the material.

The new lineup’s energy was palpable. Tony Banks’ epic “One for the Vine” stood shoulder to shoulder with Genesis’ older masterpieces, while lighter moments like “All in a Mouse’s Night” brought humor to the set. The extended version of “I Know What I Like” had the audience grooving, proving that Genesis was still evolving their sound even in live performances.

A Turning Point for Genesis

The three nights at the Rainbow Theatre were a triumphant start to a journey that would take the band across Europe, North America, and South America. It was during this tour that Genesis cemented their reputation as one of the best live acts of the era, a feat recognized when they were voted “Best Live Group” in 1977.

Yet, this tour also marked an ending. Steve Hackett, whose frustrations over his role in the band had been simmering for some time, left after the tour. His departure would transform Genesis into a trio for their subsequent album, …And Then There Were Three…, signaling the end of their progressive rock era and the start of a new phase in their sound.

“Best Live Band” in 1977

The recordings from this tour were later featured on the live album Seconds Out. These concerts captured Genesis at a pivotal moment, balancing the old and the new while navigating internal changes and external pressures. For the fans lucky enough to be there, the Rainbow shows remain legendary—a testament to Genesis’ ability to innovate, adapt, and deliver unforgettable live experiences.

As Chester Thompson would later recall the Rainbow shows: “I remember there was an energy, a buzz unlike anything I felt. It wasn’t a huge venue, but the crowd was really into it. The music for me was again a challenge, because it was just so unfamiliar to me.”1

Indeed, the Rainbow shows of January 1977 were more than just concerts—they were a defining moment in the history of Genesis.

Title photo: Genesis_(the_band). Source: Wikimedia Commons, Jean-Luc / CC-BY-SA-2.5 (https://creativecommons.org/licenses/by/3.0).

Sources

Bowler, Dave; Dray, Bryan (1992): Genesis. A biography. London: Sidgwick & Jackson.

CHESTER THOMPSON FULL INTERVIEW : HOW HE WENT FROM ZAPPA TO DRUMMING WITH GENESIS & PHIL COLLINS.

Frischvers, Richard, ‘Wind & Wuthering’. Circus (31 March 1977), pp. 58–60, https://thegenesisarchive.co.uk/circus-magazine-wind-and-wuthering-feature-31st-march/, archived from the original on 11 October 2015.

Platts, Robin (2007): Genesis. Behind the lines, 1967-2007. Burlington, Ont., Canada: Collectors Guide Pub.

Thompson, Dave (2005): Turn it on again. Peter Gabriel, Phil Collins & Genesis. San Francisco: Backbeat Books.

  1. CHESTER THOMPSON FULL INTERVIEW : HOW HE WENT FROM ZAPPA TO DRUMMING WITH GENESIS & PHIL COLLINS. ↩︎
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Steve Hackett’s First Gig with Genesis: A Nervous Start to a New Era

On January 14, 1971, Genesis played a gig at University College, London, marking the live debut of their new guitarist, Steve Hackett. For Hackett, this night would become a memorable, albeit nerve-wracking, chapter in his career with the band.

Joining Genesis: A Classical Touch

Steve Hackett joined Genesis in late 1970, following an audition that showcased his unique style. Hackett brought a blend of classical, jazz, and blues influences, developed since his childhood in Pimlico. Inspired by The Beatles, Bach, and George Martin’s orchestrations, Hackett’s approach to guitar was more compositional than flashy—something Tony Banks and Peter Gabriel recognized during his audition. “We thought that some of what he did would fit really well,” Banks later recalled, praising Hackett’s classical edge.1

Before the audition, Hackett had advertised in Melody Maker for years and had gained limited recording experience with the band Quiet World. But when he joined Genesis, he knew this was his opportunity to make a lasting impact.

The Big Night: January 14, 1971

By the time Hackett stepped onstage for the first time as a member of Genesis, the band had already begun evolving into a cohesive unit. Phil Collins, who had joined a few months earlier, had quickly become a vital part of their sound. Mike Rutherford, having the dual roles on bass and rhythm guitar, was developing as a rhythm guitarist, while Peter Gabriel and Tony Banks remained the creative core.

The University College gig, however, was not an auspicious start. Hackett was understandably nervous, and the evening presented several challenges. Equipment problems—a recurring issue for Genesis in their early days—plagued the performance. Hackett’s borrowed fuzz box malfunctioned.

“I found his playing a little stiff”, Phil Collins later said, “but I guess that was the Fripp influence. I like Robert, I played with him on his solo album, he was always very good to me, but I don’t think he’s a very intuitive player. He was a kind of sound man without the feeling. I think Steve took a little bit of that into his music. It wasn’t a groove, you know, and as a drummer that was really where I lived.”2

Adding to the chaos on that first night, Collins decided to test the limits of his ability to drum after consuming Newcastle Brown Ale. According to Collins, “I was doing perfect drum fills – three inches to the left of every drum.”3 The resulting performance left the band frazzled.

Misunderstandings and Lessons Learned

Backstage, Hackett misinterpreted a heated discussion among the band members as criticism of his performance. In reality, Banks and Rutherford were admonishing Collins for his ale-induced drumming experiment. Sound mixer Richard MacPhail tried to reassure Hackett after the gig, leading him offstage after saying, “It’s over now, Steve.”4 Despite his doubts, Hackett’s contributions impressed the group, and they encouraged him to stay.

Building Momentum

The difficult debut was only the beginning. Hackett and Rutherford soon developed intricate ideas for their twin twelve-string guitars, which was a hallmark of Genesis’ sound. The band spent the rest of 1971 refining their music, writing and rehearsing material for what would become their first album with Hackett, Nursery Cryme. During the “Six Bob Tour” with Lindisfarne and Van der Graaf Generator, Genesis started gaining traction with audiences, performing in town halls and small venues across Britain.

By mid-1971, Genesis was playing bigger stages, including the Reading Festival and their first overseas gig in Belgium. Hackett’s insistence on acquiring a Mellotron MK II and new equipment pushed the band towards a more sophisticated sound.

A New Genesis

Hackett’s intricate guitar work and compositional mindset enriched Genesis’ music. Though his first gig was rocky, Hackett proved to be a vital addition to the band, helping shape their identity.

While that night at University College on January 14, 1971, may not have gone as planned, it set the stage for the musical evolution to come.

Title photo: Wikimedia Commons, Jeff Wurstner / CC BY (https://creativecommons.org/licenses/by/3.0)

Sources

Fielder, Hugh; Sutcliffe, Phil, The book of Genesis. (London: Sidgewick & Jackson, 1984).

PHIL COLLINS FULL 2-HOUR INTERVIEW: HIS CAREER WITH GENESIS TO 1980.

STEVE HACKETT FULL INTERVIEW- Revised : MY GENESIS YEARS.

TONY BANKS UNFILTERED: GENESIS KEYBOARD PLAYER & COMPOSER IN CONVERSATION . FULL.. 1 Hour 53 Mins.

  1. TONY BANKS UNFILTERED: GENESIS KEYBOARD PLAYER & COMPOSER IN CONVERSATION . FULL.. 1 Hour 53 Mins. ↩︎
  2. PHIL COLLINS FULL 2-HOUR INTERVIEW: HIS CAREER WITH GENESIS TO 1980. ↩︎
  3. Fielder 1984: 54. ↩︎
  4. STEVE HACKETT FULL INTERVIEW- Revised : MY GENESIS YEARS. ↩︎
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The Longs (1993) – Genesis

Released in January 1993, Live – The Way We Walk, Volume Two: The Longs marked the end of an era for Genesis. Not only was it the band’s last release with Phil Collins before his departure, but it also became their final UK number-one album. As the second volume of the The Way We Walk live series, The Longs captured the epic and progressive side of Genesis, contrasting with Volume One: The Shorts, which focused on the band’s chart-topping hits.

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