…And Then There Was Phil…The Musical Box – Bridgewater Hall, Manchester – 19th June 2026

BY WAY OF SETTING THE SCENE

The Musical Box most would argue is the premier Genesis tribute band despite Phil Collins’ quote on the band’s website: “they’re not a tribute band...” The fact that they play the established theatre touring circuit (three dates in London’s Cadogan Hall on this tour) is a testament to their pulling power for anyone who wants an authentic Genesis live experience.

Their stock in trade lies in putting together a genuinely authentic show, based around certain early/Gabriel era tours. Having seen them do the ’72, ’73 and Lamb shows, I can testify. They’ve done the post-Gabriel Trick Of The Tail tour too, but the current show is a bit different. One that celebrates something beyond a specific tour and dips across the early years of Phil Collins with the helm of Genesis covering 1976-80. Fair enough, as it does remain a period for which many Genesis fans have a soft spot as the band took up the challenge of replacing their iconic front man and thrived before the template changed again post-1980.

IN CONTEXT

The tour is title And Then There Was Phil. Nice little variation on the …and then there were three… idea. It also gives context to the production. Always a band whose attention to detail in putting on an authentic show is taken as read, they’ve gone all in. The set is built around the 1978 ‘mirrors’ look. The ’78 show that travelled the world, a lonely UK appearance at Knebworth being the option for British fans so there is the draw of being able to witness a show akin to what went down in ’78 should Knebworth (or a trip to Europe) not been possible for whatever reasons.

The idea does of course, throw up a few dilemmas. It feels a bit odd hearing some of the Duke music with the overhead mirrors, but we can suspend disbelief. And ‘which Phil’ should Denis Gagné represent? The long hair/beard of ’76/’77, the short hair clean shaven look of ’78 or the Hawaiian shirt/short hair/beard ’80 image. He settles for a combo – although no beard – and on the subject, does our guitarist morph into Steve Hackett or Daryl Stuermer? Or maybe as it seems, a bit of both as of course, Hackett played only on two of four albums mined for the set.

THE VISUALS

The visuals are a major draw in any Genesis/The Musical Box tour and for the occasion the band is set up in a frame construction with their own set of mirrors held in place overhead as they run through the ’78 core set with some tweaks. The main lighting casts saturated colour, relatively simply which makes the appearance of the mirror effect or the line of coloured lights to the rear more startling. We’re made to wait until the fourth song of the set, Riplles, before they’re swinging into action. Plenty of smoke too, something you don;t see every day in 21st century rock shows.

Any issues from the early dates which had some fans voicing their displeasure on the social media addressed, this was The Musical Box reaffirming their status in the Genesis tribute world. The ambient Ravine (from The Lamb) intro leads into the ’78 tour opener of Eleventh Earl Of Mar and the bass pedals, so beloved of us Prog fans, are engaged immediately. Not quite chest-rattling or filling-loosening from our post in the rear stalls, but their presence felt.

INStRUMENTAL MIGHT

From then, we’re time tunnelled into ’78 until the instrumental might of The Musical Box makes its presence felt. The chance to veer off the ties of a tour setlist see me take on Wot Gorilla? the throwaway piece that genesis never performed and then into a Duke Selection – the Duke Suite or “a selection of music from the album titled Duke which we’ve titled……” you know the rest) – that winds a way to the interval on a high. The two drum set up works well and

The draw of TMB playing music that Genesis never played live is enhanced by Blood On The Rooftops, although in his Genesis Revisited shows, Steve Hackett has paid regular tribute. The second half sees ‘Hackett’ exclusivly on guitar bar the thud of Deep In The Motherlode. Again, the instrumental passages that rear up during in Dance On A Volcano and In That Quiet Earth in particular are goosebumpingly effective. Not forgetting the mirrors, they’re back to provide the full visual climax of Afterglow that deservedly earns its place as set closer. The use of It’s Yourself as an intro to Los Endos is also a clever touch and again, ticks an unticked Genesis box. Good thinking chaps.

FOR OUR NEXT TRICK….

The trade offs for the focus on a period rather than specific tour see the only concession to the Gabriel era coming with a blast through In The Cage during the encore. Not quite in keeping with the Trick/Wind/Duke set but one Genesis did play to startling effect in ’78 (and ’80) – simply mention Chicago Uptown Theatre ’78 to a fan in the know and see them swoon. With most things in place, perhaps recreating the ’78 tour would be the obvious road to take.

The Musical Box: Website

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