By Eric Lochridge
I’ve been trying not to let this get around, but the secret’s out: I saw Genesis last weekend in Denver. And I enjoyed it. I know, I know – they’re not a cool band, so I’ve been changing the subject whenever it threatens to come up.
But since I bumped into an acquaintance who pried it out of me in a chance meeting at a fast-food restaurant earlier today, I’ve decided to come clean: I’ve been a Genesis junkie since I was 13.
I discovered the band in 1986, as “Invisible Touch” was released. But it didn’t take me long to dig through the Genesis back catalog to the band’s art-rock roots. Those early, progressive albums boasted complex songs ranging from eight to 28 minutes, quite a contrast with “Invisible Touch’s” radio-friendly pop.
I spent much of Saturday afternoon at an Octoberfest celebration in Denver making excuses and apologies for my evening concert selection. It’s very difficult to convince people that Phil Collins is cooler than he seems.
So it wasn’t exactly a young crowd filling the Pepsi Center Saturday night. The usual youthful ambience that permeates the pre-show audience was peculiarly absent. I was seated next to a denim-clad woman who apparently had survived a Bedazzler attack. She was with a bald man who looked curiously like Karl Rove, and she said she had been a Genesis fan for “a really long time — ever since ‘Miami Vice’.” Uh, OK, so she had caught the tail end of the band’s career. Then she pulled a hot roast beef sandwich out from I don’t know where and began to eat.
Anyway, it turns out that Genesis still sounds great, and they played a set that was skillfully balanced between the radio hits (”I Can’t Dance,” “Throwing It All Away,” “Land of Confusion”) and the old progressive songs (”In the Cage,” “Firth of Fifth,” “Afterglow,” “The Carpet Crawlers”).
And I’ll admit, that was pretty cool.