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Genesis: a warmly received last lap from Phil Collins

Genesis: a warmly received last lap from Phil Collins

Don’t worry, I don’t mean to contradict these kinds of obvious and recurring claims. After all, The dinner is ready and I can not dance, from a strictly music-loving point of view, it has nothing to do with it.

But in this year 2021, which is 46me (!) Since Gabriel’s departure, it should be noted that on each of his visits to Montreal, the group draws crowds. At some point, we will have to admit that what we colloquially call collins period has followers at least as loyal as those of the Gabriel period. Report.

Phil Collins, 70, Tony Banks, 71 and Mike Rutherford, 71, returned to the Quebec metropolis on Monday for the first of two concerts at the Bell Center, 14 years after their visit to the Olympic stadium.

Collins came to perform solo three years ago, and people who attended the concert saw the ravages of more than a decade of many health problems. The Briton can no longer play the drums, he moves with a cane and must remain seated during the concert.

On a vocal level, Collins’ power is less than in the past, which explains the presence of two singers who support him very well. That being said, have you ever tried singing sitting down? It’s crazy how hard it is to breathe. Doing this for over two and a quarter hours is downright impressive. All in all, it is more of a loss of varnish from the singer’s melodic timbre that was noticed during the evening.

Genesis and Quebec, it’s a love story since few international groups have lived in our land. Collins has previously announced that it was his last hike with his teammates due to his medical condition. Despite the question mark in the tour title The last domino? Which leaves room for ambiguity, I doubt that the approximately 16,000 people present at the Bell Center enjoyed the evening without thinking it was their last.

Good evening everyone, Collins said in French. Thanks for being here tonight. Monday night in Montreal… what else could you do? Typical English humor.

Turn it on again made it possible to quickly measure visual breakdown with split screens for each of the members and their musicians. Then Collins, in the foreground on a red background, still looked like a crochemite for Mother with your usual Ah ah ah!. We were on familiar ground.

We just lived through two strange years. The following song was written a long time ago with another intention, he noted a few minutes later. Today it takes on another meaning.

The images that accompany the interpretation of Land of confusion It showed us the deserted city of London, as at the beginning of the pandemic, then flooded by showers of televisions and rolls of toilet paper, while it showed Londoners dressed in bowlers and masks strolling through the streets and roads of the English countryside. A 1986 classic with coronavirus sauce. Excellent recycling.

During the always excellent rhythm of House by the sea, the images took us this time to the haunted house by the sea and offered us a visual effect based on the famous painting by Edvard Munch The Scream. No matter the context or the time, Genesis always covers its productions with care.

Collins can no longer play drums, now it is his son Nic (Nicholas) who takes care of it. Second house by the sea allowed him to shine for the first time, when he wrestled with Banks, Rutherford and guitarist Daryl Stuermer, an integral part of the group on stage for 45 years. The 20-year-old Nic Collins’ strike is forceful, efficient, and his gesture is no different from that of the dad, who also left the scene at this point.

And that’s where it hit me …

Suddenly, I saw Jason Bonham on stage at London’s O2 Arena in 2007, with Robert Plant, Jimmy Page and John Paul Jones, during the Led Zeppelin reunion. The report was the same: the flesh and blood of the father to the rescue of his old group. There was something poignant about it, and besides, Phil can enjoy it all from a front row seat.

The highlight of the concert if there is one, the sequence of two verses of Fading lights, an instrumental part of The movie show and D ‘Afterglow. Ten rows in front of me, I saw a man, standing with his fist in the air by Fading lights, while another spectator greeted Afterglow – taken from Wind and Squalls, the last album with Steve Hackett, like a blessing, with outstretched arms. An instrumental part from 1973 and a song from 1976 in succession – without a doubt the quintessential moment of the night for early Genesis fans.

Acoustic mode

Genesis: a warmly received last lap from Phil Collins

Phil Collins, in concert with Genesis, at the tour’s premiere The last domino?, at the United Center in Chicago on November 15, 2021.

Photo: Getty Images / Timothy Hiatt

A small bivouac spawned a trio of acoustic titles: That is all, where the crowd beat time and turned on their mobile phones, a part of The lamb lies down on Broadway which seemed a bit insignificant, neat too, but which was enhanced by the crowd, and I follow you, follow me, ideal in such a context.

If you sing loud I will sound betterCollins joked before the segment. The crowd followed the moment.

Personally, I would have done it without Duchess, especially since it sometimes alternates with Misunderstood on this tour. People who will be in the Bell Center on Tuesday night can hear it.

The instrumental part of Firth of Fifth stressed Stuermer and I know what I like (in your closet) he brought us a somewhat rude Collins who, sitting down, took up a little of his classic tambourine touch (hand, elbow, head).

Let’s go! he yelled to the crowd who weren’t clapping enough for his liking. Handicapped by illness, Collins traded the performance aspect of his performance for a marked bond with the audience who yelled at him more often than in turn how much they loved him.

Phil did what he wanted with the crowd, which was very evident during the presentation of domino. Domino effect, certainly from one section of the amphitheater to another. As for the performance itself, it was under the label of Nic, Rutherford and Banks; these last two, by my faith, have lost none of their splendor.

If there was a real nostalgic moment, it was lasting Getting rid of everything. Behind the musicians were reproductions of four-track cassettes and VHS videos of albums from the past interspersed with archival footage from 20, 30 or 40 years of the band members.

Invisible Touch It had the expected beef effect and, when recalled, I can not dance proved it was still devilishly effective if it didn’t develop as The dinner is ready. A small portion of Dancing with the Moon Knight and Carpet crawlers concluded the two hour and twenty minute concert beautifully.

Is it better than 2007? Of course not. Everyone who was at the Olympic Stadium 14 years ago and Monday night at the Bell Center will admit that yesterday’s concert was a deficit, unless it was in bad faith. Except for the sound, of course. I always take the Bell Center before the olympic olympic.

But that’s not the way to look at it. On Monday, and that will be the case on Tuesday night, thousands of admirers and admirers of a beloved group will come to thank the artists for having been in their lives for as long, at times, as some members of their family.

The tremendous standing ovation given to Banks, Collins and Rutherford before they left the stage was nothing short of a gigantic decibel eulogy for more than 50 years of service to the public and their memories of the past … from the Gabriel period to Collins.