As noted elsewhere, the set included mostly later Collins-era material (Home By The Sea, No Son of Mine, Invisible Touch, Throwing It All Away, Turn It On Again et al), with some gems thrown in.  The high points were Ripples (worth the price of admission), Mama (the second best I've ever heard it), Domino (also the second best I've ever heard it), and two medleys.  The first medley started with In the Cage, moved into the instrumental mid-section of Cinema Show, then through Duke's Travels, and finally into Afterglow.  Strangely, although there was double drumming in parts, Thompson did not play the second part on Cinema Show, and it was sorely missed.  The other medley started with one of the best double drum solos I have seen these two play (and I have seen them play many): they started by drumming on two soft-seated stools (!) - using both the cushions (which were miked) and the metal parts of the stools - and slowly bringing in their drum sets, building to a truly awe-inspiring crescendo which brought in the instrumental mid-section of Firth of Fith, then Wot Gorilla, and finally the instrumental ending of Los Endos (from Seconds Out).  Along with Ripples, this was worth the price of admission.  (And yet...even much of the usually exciting double drumming seemed somewhat subdued, even (dare I say it?) rote.)

 

They ended with Invisible Touch, for which the finale included flash pots and fireworks (inside MSG!).  I have to admit I was a bit unnerved, since I could not stop thinking about Great White and the tragedy in Rhode Island.  (Call me paranoid, if you must.)

 

They came back for two encores.  The first - "We Can't Dance" - was a throw-away, but was cute nonetheless.  Their final song was Carpet Crawlers.  Oddly, this was unquestionably the most inspired song of the entire night - and people started walking out!  Admittedly it was late, and much of the audience came in from NJ or LI, so they had to catch trains home.  But it was sad to see that the band waited until the very end to come close (very close) to their heyday.  Had they played like that all night (even the newer stuff), it would not simply have been a good show, but a great one.

 

The other odd thing about the show was that, despite having yet another unique and amazing lighting and effects set-up, they rarely used it to its potential.  And they certainly never aspired to create anything that approached the type of arena rock show for which they became so famous, even though they easily could have.

 

Ultimately, I am glad I saw the show, if only for the few numbers that made it worthwhile.  As noted, I didn't really expect them to be the Genesis of Seconds Out (even given Steurmer's replacement of Hackett).  But I can't say I didn't hope for it.

 

Peace.

 

Here is the link to the New York Times review, which I agree with 100%.

 

http://www.nytimes.com/2007/09/27/arts/music/27gene.html?oref=login&pagewanted=print - http://www.nytimes.com/2007/09/27/arts/music/27gene.html?oref=login&pagewanted=print

 

Peace.

 

I like all eras of Genesis and being a first timer I pretty much enjoyed the entire show.  I didn't particularly like the In the Cage medley too much but that isn't one of my favorites from that era.  Given their dilemma of pleasing the pop fans and the prog fans I think that they did a decent job of covering both arenas.  However, I think that the pop fans might not have been too thrilled with the amount of old material that was played.  The crowd was definitely more into it with the hits; whenever they played an older song the streams of people heading out for beer and restrooms was quite excessive.  I think that they are the type of band that would have to do the two shows per city tour, where they play their prog one night and their pop the next.  Of course, the pop would be played at the arena, and the prog would be played in a smoky barroom.

Churrascaria anyone?

 

I've discovered that I really am an all-era fan after re-assessing their 80s and 90s albums of late, so I didn't really have a problem with the later stuff being in the set. For example, 'Mama', 'Home By The Sea' and 'Domino' were all definite highlights for me. But the amount of fan accounts I've read from the European tour (the American one seems a little different) that say they, or other people, went for a toilet break during 'Hold On My Heart' (and I don't really mind this song that much, it's harmless enough, IMHO) is quite amusing! In the 'cinema show' I saw, it was the segue from the drum solo into 'Los Endos' that brought down the house, not the pop material. I heard some nods of approval from some student types sat next to me about 'Home By The Sea', as well.

 

Whilst prog is not considered a cool genre by any stretch, I think its critical standing of late due to its slight re-emergence in the mainstream is still far better than that of 80s adult contemporary/AOR. And I've also discovered that a compilation released in Starbucks of Genesis had lots of prog material on it.

 

As for the subject of new material? Phil was very adamant in interviews just before the tour that it wouldn't happen, but on the recently released SACD/DVD-A of 'We Can't Dance' he says 'if we do something again', and Tony Banks said all three were enthusiastic about it after the reception to the tour. I'd love a new album, but I do genuinely think it should be a bit more musically ambitious with less reliance on mid-tempo ballads that both 'We Can't Dance' and the later 'Calling All Stations' with Ray Wilson had.

 

 

Anyway, this show was worthed to be seen.  

 

Speaking of Old Friends I am seeing Jethro Tull the day after tomorrow for the first time since 1978 (and DVD's)  It will be my GF first time ever with both bands so I am anxious to see her reaction to both of these bands and contrast it with my own memories.