Tag: Trespass

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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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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).