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Genesis at Reading Festival 1971

Reading Festival Line Up 1973

Peter Gabriel performs with a broken ankle – and Genesis gain new fans

On 26 June 1971, Genesis performed at the Reading Festival for the very first time. Back then, they were still low on the bill, sharing the lineup with artists such as Lindisfarne, Terry Reid, Renaissance and Sha Na Na. Like many festivals, it came with its share of challenges: rain, mud, and even an unexpected police squad, but Genesis had a unique complication of their own: Peter Gabriel had recently broken his ankle.

The accident at Friars Club

Just a week earlier, on 19 June, Genesis had played a show at Friars in Aylesbury. During the encore of The Knife, Gabriel, always the theatrical frontman, leapt off the stage into the crowd. Unfortunately, the audience parted rather than caught him. He hit the floor hard and fractured his ankle.

Despite the injury, the band pressed on. Gabriel famously performed at least one subsequent gig in a wheelchair at an art college in Lincoln. Richard Macphail, Genesis’s tour manager and longtime friend, recalled the chaos:

‘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!’1

Thankfully, he did not and just a few days later, Genesis took the stage at Reading.

Reading Festival in 1971

The 11th National Jazz and Blues Festival was held in Reading for the first time in 1971. The festival had previously moved between locations including Richmond, Windsor, Sunbury, and Plumpton due to local complaints. That year, it finally found a home in Reading, taking place at the Thames-side Arena on Richfield Avenue, over 25–27 June.

The event was rebranded as the Reading Festival of Folk and Progressive Music, with a ticket for Saturday, 26 June, priced at just £1.50. Although Reading Festival is typically held in August today, it’s unclear why it took place in June that year, perhaps due to the town’s 1000th anniversary celebrations, which had helped organizer Harold Pendleton gain approval from the local council.

Sharing the stage with Charisma labelmates

Genesis were not the only Charisma Records act at Reading in 1971. Lindisfarne, Van der Graaf Generator, Bell & Arc, and Audience also performed, alongside other notable names like Arthur Brown, Rory Gallagher, Wishbone Ash, Osibisa, and Ralph McTell.

Genesis played mid-afternoon on the festival’s second day. Despite their relatively low billing, their set was highlighted as one of the standout performances of the weekend. The impact was strong enough that they were invited back in the following two years.

A new era: Genesis and the festival circuit

That summer marked the beginning of Genesis’s appearances at outdoor rock festivals. Steve Hackett later recalled that it rained nearly every time they played an outdoor show in England or Europe, turning every venue into a mud bath.

At Reading, technical issues added to the frustration. Power fluctuations made it nearly impossible to keep instruments in tune. The organ was already difficult to manage, and the Mellotron, notorious for its fragility, was even worse. Their twelve-string guitars, tuned backstage, were often already out of tune by the time they hit the stage and tuning a twelve-string in front of a festival crowd was nearly impossible.

Not made for festivals?

Looking back, Tony Banks admitted that Genesis were not ideally suited for the festival scene in those early years. The broad daylight made it difficult to create a dramatic atmosphere, the audiences did not always appreciate the complex song structures, and sound quality was often poor.

Still, the band slowly built a reputation as a strong live act and festivals helped them reach new fans. The real magic, though, happened after dark, when they could perform for their own audiences in a controlled setting.

But even at this early stage, they were beginning to leave an impression. At Reading 1971, some fans in the crowd already waved Genesis flags, signaling that the band’s dedicated following was starting to take shape.

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).

  1. Platts, Robin, Genesis. Behind the lines, 1967-2007. (Burlington, Ont., Canada: Collectors Guide Pub., 2007), p. 44. ↩︎
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Genesis’ First Gig Abroad: Belgium, March 7, 1971

Genesis played their first-ever overseas concert on March 7, 1971, at La Ferme in Woluwe St. Lambert, Belgium. This landmark performance marked a significant step in the band’s journey, as they ventured beyond the UK for the first time.

Trespass Had Charted in Belgium

At the start of 1971, Genesis had yet to achieve major success in their home country. However, things were different on the continent: their second album, Trespass, had reached number one in Belgium. Encouraged by this unexpected success, the band – now featuring new members Phil Collins on drums and Steve Hackett on guitar – headed to Belgium for their first international show.

A Rough Journey Across the Channel

The band crossed the English Channel on an overnight ferry, but sleep was out of the question. Unable to afford cabins, they spent the night sitting on deck – while Phil, suffering from seasickness, spent most of it throwing up. Running on little more than beer and sandwiches, they arrived in Belgium the next morning, drove straight to the venue, and played.

The Setlist: A Mix of Old and New

The setlist featured songs from Trespass, live favorites, and two brand-new tracks. As was typical for Genesis at the time, the performance started with acoustic material before building up to heavier numbers. Fortunately, a recording of this historic gig exists, allowing us to hear most of the show (though some parts are missing). It also contains the only known live recording of the rare song “The Light”, which features early elements that would later evolve into The Lamb Lies Down on Broadway’s “Lilywhite Lilith.”

Opening with a New Song

The show began with the band’s latest composition, “Happy The Man” – introduced by Peter Gabriel as a song about a man who “eats his fingernails, probably.” Built around a Mike Rutherford riff, the song had a laid-back, folk-rock feel, reminiscent of Lindisfarne. It was an attempt at a radio-friendly single, and in this live version, it was performed at a slightly slower tempo.

Next came “Stagnation” from Trespass – which Gabriel jokingly described as being about “people with bad breath.” This live rendition, enhanced by Phil Collins’ drumming, had a swing that was missing from the studio version.

The Only Recorded Performance of “The Light”

After a few minutes of Peter’s humorous attempts to introduce the band, they launched into “The Light” – a rarity in Genesis’ catalog. The song’s opening bass riff would later be repurposed for “Lilywhite Lilith”, and Steve Hackett’s guitar parts would also find their way into that track. “The Light” then developed into a full-fledged progressive rock piece, featuring an extended instrumental jam between Tony Banks and Hackett. Eventually, the song returned to a section that closely resembled the later Lamb Lies Down classic. Compared to other Genesis compositions from this era, “The Light” stands out as a unique and intriguing experiment.

A Blend of Familiar and Unfinished Material

Next, the band slowed things down with “Twilight Alehouse”, a live staple at the time. The dramatic organ-driven climax showcased Tony Banks’ signature style. Then came another brand-new song: “The Musical Box”, which Peter introduced in both English and French. This early version was slightly different from the one that would appear on Nursery Cryme later that year. There was extra instrumental material before the “And the clock” section, which was repeated twice. Tony’s keyboard solo was extended, while Steve Hackett’s was shorter – unsurprising, as he had only been with the band for two months. Even the song’s now-iconic climax had subtle differences in Gabriel’s vocal delivery.

The band then launched into the Trespass classic “The Knife”, which Peter introduced in French. Tony’s organ led the charge, Mike Rutherford’s bass provided the driving force, and Steve Hackett – though still getting to grips with the song’s solos – delivered a strong performance by the end. Unfortunately, Peter’s flute section in the middle is missing from the recording. The audience, however, responded with enthusiasm, applauding loudly.

For the encore, Genesis performed “Going Out to Get You”, an early track that Peter described as “a very old number about passion.” Tony Banks dominated the piece, and Steve Hackett was barely audible – at times, it even seemed as if he wasn’t playing at all.

A Glimpse Into Genesis’ Creative Process

Listening to this rare recording is fascinating – not just because it includes unreleased songs, but also because it captures the band in the midst of developing their material, both musically and lyrically. Most notably, it features the only known live performance of “The Light”, making it an essential piece of Genesis history.

An Exhausting but Pivotal Moment

The concert was a success and a crucial milestone for Genesis. After the show, the exhausted band made their way back to the UK on the ferry, with Phil Collins limping home, nearly collapsing from sheer fatigue. Despite the rough journey, this first step into the international spotlight marked the beginning of Genesis’ rise as one of progressive rock’s most important bands.

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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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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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 ↩︎