when did genesis last tour

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Genesis Closes 2022 Farewell Tour With Final Concert in London

Tony Banks, Phil Collins, and Michael Rutherford at the final concert, March 26, 2022 (Photo: Raph PH; used with permission)

Genesis—Phil Collins, Michael Rutherford, and Tony Banks—closed their farewell tour, named “The Last Domino?,” in London on March 26, 2022. The reunion tour, which included concerts in the U.K. in September 2021 and in North America in the fall, concluded with another 14 concerts in Europe and the U.K. Perhaps this was truly it—and this time it appears that it is, due to Phil Collins’ myriad health issues.

Longtime fans had hoped for a reunion tour with Genesis’ original frontman, Peter Gabriel. When that didn’t happen, it was hoped that Gabriel would join his former bandmates onstage for a song. [That, too, didn’t occur, though he did attend the final concert from the audience and Collins gave him a brief shout out from the stage. “I think Peter’s here tonight… Peter! Peter Gabriel, ladies and gentlemen… let’s hear it. I don’t know where he is. Maybe he’s the one shouting for ‘Supper’s Ready,’ I don’t know,” Collins quipped about a request from the audience for the sprawling track from 1972.]

Due to severe issues with his back, Collins, who turned 71 on January 30, is no longer able to drum. (His percussion playing is limited to the tambourine.) He has also dealt with hip issues in recent years and now sits center stage. The trio were joined on the tour by Collins’ son, Nic, who also filled in for his father behind the kit during his recent solo tours. (The younger Collins was born on April 21, 2001.) Longtime Genesis touring band member, Daryl Stuermer, returned on guitar and bass. Also on hand were Daniel Pearce on backing vocals and percussion, and Patrick Smyth on backing vocals and tambourine.

The band didn’t vary the setlist during the tour. The 23 songs on the final night were virtually identical to the band’s recent U.K. and U.S. tours, that took place from September through December 2021, with a mix of hits and album cuts. And, of course, the spectacular light show that has always been one of the band’s live hallmarks.

At the final show—the third in three nights at The O2—they took to the stage with the house lights up as the audience stood and applauded.

Watch them perform “Behind the Lines” / “Duke’s End” and “Turn It On Again” to open the show

Watch the great instrumentation of “The Cinema Show” and “Afterglow” from a closer perspective

Slightly before the concert’s midway mark, came “That’s All.”

There have been two distinct Genesis fanbases. There are the ones that embraced the band when they were led by Gabriel, as unique a frontman as there was. This edition didn’t have hit singles even in their native England. But that audience loved such early albums as 1971’s Nursery Cryme (with such lengthy LP cuts as “The Musical Box”) and 1973’s Selling England By the Pound , which included their first minor hit, “I Know What I Like (In Your Wardrobe).”

Watch them perform “Firth of Fifth” and “I Know What I Like (In Your Wardrobe)”

When Gabriel left, Collins took over as the group’s lead vocalist. [It’s said that Collins’ first concert as lead vocalist, in 1976, was 46 years to the day of this final concert.] Soon, the group were composing songs that were embraced by Top 40 programmers, leading to a whole new audience of fans who knew them for their singles, of which there were many.

Watch them close out the main set with their #1 single, “Invisible Touch”

They closed the concert, tour, and career as a band with “Carpet Crawlers” from 1974’s The Lamb Lies Down on Broadway .

Genesis, The O2, London, U.K., March 26, 2022 Setlist Behind the Lines / Duke’s End Turn It On Again

Take a bow, gents! (Photo at the final concert on March 26, 2022 via Genesis’ Facebook page)

Mama Land of Confusion Home By the Sea Second Home By the Sea Fading Lights The Cinema Show Afterglow That’s All The Lamb Lies Down on Broadway Follow You Follow Me Duchess No Son of Mine Firth of Fifth I Know What I Like (In Your Wardrobe) Domino Throwing It All Away Tonight Tonight Tonight Invisible Touch

Encore I Can’t Dance Dancing With the Moonlight Knight Carpet Crawlers

Related: Listings for 100s of classic rock tours

Collins’ daughter, the actress Lily Collins, was at the final show and shared her thoughts.

View this post on Instagram A post shared by Lily Collins (@lilyjcollins)

The last domino has fallen…the last Genesis gig ever: March 26, 2022, O2 Arena, London. A privilege to have been there #genesis pic.twitter.com/9V1L2GvocB — Mark Nicholls (@MarkNicholls5) March 27, 2022

Genesis’ vast recording catalog is available in the U.S. here and in the U.K. here .

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3 Comments so far

NEED TO KNOW ,WILL THERE BE A LIVE DVD OR BLU RAY TO ADD TO MY COLLECTION?????????

Their management has said the shows weren’t taped or filmed, sadly. Seems weird.

Never say never. They’re one of the few classic bands where all original members are still alive. Peter Gabriel and Steve Hackett are viable – Gabriel just put out a new record and is on tour, and Steve Hackett tours relentlessly. 4/5th of Genesis, even without Phil Collins, would still very much be Genesis…

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Genesis Play Last-Ever Show With Peter Gabriel in Audience

Genesis brought their career to a end in London on Mar. 26, 2022, and former frontman Peter Gabriel was in the audience to see it happen.

The closing show on the band’s Last Domino? tour had already been described as their final performance together, coming after a two-year road trip, interrupted by COVID , which marked their first shows in over 13 years.

“Tonight is a very special night,” lead singer Phil Collins told the crowd at the O2 Arena from his seated position, forced upon him by health issues. “It’s the last stop of our tour, and it’s the last show for Genesis.” He added: “It’s difficult for us to believe that, uh, you still came out to see us! Yes, after tonight we’ve all got to get real jobs.” Later in the 23-song set, he announced Gabriel’s presence, joking: “Maybe he’s the one shouting for ‘Supper’s Ready’ — I don’t know!”

Phil Collins Confirms Genesis’ End on Stage

Genesis had three distinct incarnations during their original lifespan from 1967 until 2000, during which time they released 15 studio albums. They were a markedly more progressive collective with Gabriel at the helm but embraced more accessible pop-rock elements after his departure  in 1975.

Drummer Collins then took over, overseeing a new period of success before he  left in 1996. The band continued with Ray Wilson before breaking up four years later. They reunited  with Collins for a tour in 2007 — one that was long thought to have been their curtain call until the Last Domino? run was confirmed following years of speculation.

Collins’ son Nic joined guitarist Mike Rutherford and keyboardist Tony Banks in the lineup after the singer confirmed he could no longer play drums.

“I would love to,” Collins senior said before the tour, “but, you know, I mean, I can barely hold a stick with this hand, so there are certain physical things that get in the way.” He reported that Nic “kind of understood” what the band needed from him, adding: “And he plays a bit like me when he wants to — he doesn't when he doesn't want to. But I'm one of his many influences, of course, being his dad… he kind of has the same attitude as me. So that was a good starter."

Watch Genesis Play ‘Behind the Lines’ / ‘Duke’s End’ / ‘Turn It On Again’ at Final Show

Watch Genesis Play 'Land of Confusion' at Final Show

Watch Genesis Play  ‘Fading Lights’ / ‘The Cinema Show’ / ‘Afterglow’ at Final Show 

Watch Genesis Play‘No Son of Mine’ at Final Show

Watch Genesis Play‘Firth of Fifth’ / ‘I Know What I Like’ at Final Show

Wach Genesis Play 'Domino' at Final Show

Genesis’ Final Show: London; March 23, 2022 

1. “Behind the Lines’ / “Duke’s End” 2. “Turn It On Again” 3. “Mama” 4. “Land of Confusion” 5. “Home By the Sea” 6. “Second Home By the Sea” 7. “Fading Lights” (part) 8. “The Cinema Show” (part) 9. “Afterglow” 10. “That’s All” (acoustic) 11. “The Lamb Lies Down on Broadway” (acoustic) 12. “Follow You Follow Me” (acoustic) 13. “Duchess” 14. “No Son of Mine” 15. “Firth of Fifth” 16. “I Know What I Like (In Your Wardrobe)” 17. “Domino” 18. “Throwing It All Away” 19. “Tonight, Tonight, Tonight” (part) 20. “Invisible Touch”

Encore 21. “I Can’t Dance” 22. “Dancing With the Moonlit Knight” (part) 23. “The Carpet Crawlers”

Genesis Solo Albums Ranked

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Phil Collins and Genesis bid Cleveland farewell with emotional final show (Photos)

• Updated: Dec. 01, 2021, 5:32 p.m. |
• Published: Nov. 30, 2021, 11:45 p.m.

• Troy L. Smith, Cleveland.com

CLEVELAND, Ohio – Even before Phil Collins and the members of Genesis took the stage at Rocket Mortgage FieldHouse on Tuesday, there was a sense that this was the end.

“This is Genesis,” a concert-goer told his friends as they walked towards the arena an hour before showtime. “I’ll never see them again. We can’t be late!”

Before embarking on “The Last Domino? Tour,” Collins said this would be his last go-round with Genesis . Yes, farewell tours that aren’t actually farewells have become the norm in recent decades (Elton John’s “final” tour is coming to Cleveland AGAIN next year). But we’re apt to believe Genesis.

The band has been far from prolific in the 21st century. In fact, “The Last Domino?” is Genesis’ first tour since 2007′s “Turn It On Again: The Tour,” which was the band’s first trek since the late 1990s.

Then there’s Collins’ health. He’s been battling severe nerve damage that affects both his hands and back. It’s so debilitating, Collins has to sit in a chair on stage when he performs.

It’s a far cry from the lively Collins many of the fans witnessed in the 1980s. But it doesn’t matter. The vibe of “The Last Domino? Tour” is one of seeing an all-time great band – one of the biggest in music history – do its thing one more time whether its lead singer is running up and down a runway or sitting back to take it all in.

Fans flocked to merch tables on Tuesday night. They took selfies in front of screens showing the “The Last Domino? Tour” artwork. A son walked with pride alongside his father, while dressed in his dad’s 1987 “Invisible Touch Tour” T-shirt from 1987.

“I started seeing them when I was 16,” said one concert-goer, minutes before the lights dimmed. “Now, I’m 61. Wow!”

The crowd at Rocket Mortgage FieldHouse, which wasn’t quite sold out, roared at the sight of Collins walking up the stairs to the stage with a cane in hand as “Dead Already” from the film “American Beauty” played. Collins took his place at the front of the stage as his bandmates broke into “Behind the Lines” from 1980′s “Duke” album.

Things kicked into high gear with the opening chords of “Turn It On Again” rang out. Genesis was backed by an amazing lights display and massive video screens. During “Mama,” the entire stage was cloaked in red lights with Collins letting out his creepy cackle as if he were Gollum from “Lord of the Rings.”

“Good evening Cleveland,” Collins said after “Mama.” “Well you’re here, we’re here. We’re gonna have some fun tonight. So, let’s be honest, it’s been a s****y couple of years. Anyway, thank u for coming out!”

Collins looked like he was in pain. He’d often lean back in his chair whenever he got the chance, which suggested it provided some relief. Yet, no matter what Collins may have been feeling physically, it never affected his performance. His voice sounded great on songs like “Land of Confusion” and “Home by the Sea.”

Collins even got up from his chair to sit next to his son, drummer Nick Collins, during “Home by the Sea.” As Collins took a breather, keyboardist Tony Banks, bassist/guitarist Mike Rutherford and longtime tour guitarist Daryl Stuermer (whose wife Michaela is a Cleveland native) traded solos.

Collins’ vocals reached their peak on the moving first half of “Fading Light.” It was an emotional tour de force that saw some in attendance wiping tears from their eyes. But Genesis wasn’t letting up. “Fading Lights” transitioned into “The Cinema Show” and then “After Glow,” which brought an unofficial end to the first part of the set.

The band then switched things up. Typically, an acoustic portion of a rock show can kill momentum. But it was the highlight of Tuesday’s show. Stripped-down performances of “That’s All,” “The Lamb Lies Down on Broadway” and “Follow You Follow Me” transformed Rocket Mortgage FieldHouse into an intimate setting. You couldn’t help but sing along.

Genesis then regrouped, turning up the volume for “Duchess,” a song the band hasn’t played regularly on tour since the early 1980s. Rutherford and Stuermer took the spotlight on “No Son of Mine” and “Firth of Fifth,” playing amazing guitar solos that brought the crowd to its feet.

Much of Genesis’ set, which has been consistent throughout “The Last Domino? Tour,” felt meticulously crafted both musically and production-wise. But Collins had a few surprises. He cut loose on “I Know What I Like (In Your Wardrobe),” directing both the crowd and his bandmates with subtle hand and facial gestures as if he were a seasoned orchestra conductor.

Genesis finished its set with a run of hits that included “Invisible Touch,” “I Can’t Dance,” “Dancing with the Moonlit Knight” and “The Carpet Crawlers.” During vocal breaks, Collins looked out into the crowd, taking in the moment. He wasn’t the only one.

For Cleveland fans, Tuesday’s show wasn’t just a goodbye to Genesis. It was a chance to relive the glory years of a band that played every major music venue in Northeast Ohio over the course of 50 years. All these years later, Collins may be sitting in a chair. But he and his bandmates are still getting standing ovations.

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Genesis: The Last Domino? Tour

• Date December 15 – 16 , 2021
• Doors All doors open at 6:45PM
• Availability On Sale Now
• Ticket Prices $80.50, $155.50, $225.50, $305.50, $505.50
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Event Information

Genesis  the last domino   , fall 2021 north american tour.

Massive excitement from Genesis fans continues to push The Last Domino? North American Tour to add more dates, a 2 nd and final show in Boston at TD Garden on December 16, 2021. Tickets go on sale Friday, May 14 at 10:00am ET. Visit www.genesis-music.com for tour, ticket, and official VIP package information.

Genesis announced their highly anticipated return to North America for the first time in 14 years with The Last Domino? tour dates that will have Tony Banks, Phil Collins, and Mike Rutherford , playing major cities across the U.S. and Canada this November and December 2021. This tour includes New England’s only engagement at Boston’s TD Garden on December 15, 2021 . The group will be joined by Nic Collins on drums, and the band’s long-time lead guitar and bass player Daryl Stuermer .

Kicking off at Chicago’s United Center on November 15, 2021 , Genesis The Last Domino? North American Tour 2021 will continue on to Washington, D.C., Charlotte, Montreal, Toronto, Buffalo, Detroit, Cleveland, Philadelphia , while also making two stops in the New York metro area at Madison Square Garden on December 5, 2021 , and at the brand new UBS Arena in Belmont Park on December 10, 2021 . The tour will also stop in Columbus and Pittsburgh before wrapping in Boston on December 15, 2021, at TD Garden .

The Last Domino? North American Tour 2021 marks the first time Genesis has performed stateside since 2007’s Turn It On Again: The Tour which went on to be one of the biggest grossing tours of that year playing sold out arenas and stadiums around the world. One of the most successful and legendary rock bands of all-time, Genesis has sold more than 100 million albums with numerous top 20 hits including “Invisible Touch,” “In Too Deep,” and “Turn It On Again,” while also being inducted into the Rock & Roll Hall of Fame in 2010.

Tickets for all shows will be available first through a presale powered by Ticketmaster Verified Fan on May 5, followed by the general public on-sale on May 7. The Verified Fan program aims to create a safe and reliable ticket-buying experience. It helps ensure that tickets get into the hands of real fans first. Fans must register for access between now and Sunday, May 2 at 11:59 pm ET. If verified and selected, fans can secure their tickets beginning Wednesday, May 5, at 10 am local time. 

To register, please visit www.genesis-music.com . 

Beginning May 7, tickets will be available through a public on-sale. Visit www.genesis-music.com for tour, ticket, and official VIP package information.

Venues in all the tour cities (except Cleveland and Philadelphia) will utilize Ticketmaster’s digital ticketing. With digital ticketing, your mobile phone becomes your ticket, using a unique rotating barcode for powerful fraud and counterfeit protection, and enabling a more contactless entry experience. The local box office can assist anyone without a smart phone on site at the venue.

For the biggest Genesis fans who want to get closer to the action than ever before, official VIP packages will be available for all shows! Fans can choose from a variety of VIP package options to ensure they have an unforgettable experience. Official VIP packages will be available beginning Wednesday, May 5 at 10 am local time. 

The tour and all venues will be following all mandated precautions in accordance with state and local regulations so as to provide the most secure, Covid-19-free environment possible.

Genesis The Last Domino? North American Tour 2021 is promoted by EMC Presents by arrangement with Solo and Tony Smith Personal Management. Produced by Frank J. Russo.

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‘Everything just kept getting bigger!’ Genesis on prog, 80s stardom and Phil Collins’s health

As they prepare what could be their final tour after 54 years, the British rock greats reflect on who they lost along the way, how they survived punk – and why Phil is skiving off his vocal practice

‘G enesis have always been slightly below the radar,” says keyboardist Tony Banks. “We’ve never been part of a current trend; we don’t tend to get awards; we’re just sort of … there . People that like us really like us, though, and that’s all we care about.”

“Below the radar” may be a strange way of describing a band who have sold more than 150m albums. But, then, Genesis have always been peculiarly self-effacing. From their early-70s, Peter Gabriel-fronted iteration, where they quickly ascended to the upper echelons of progressive rock with a combination of theatrical whimsy and fiendish technical complexity, to their slicker, poppier, staggeringly successful 80s years, they remain a wildly popular – yet pleasingly eccentric – proposition.

Rehearsing for the band’s The Last Domino? world tour (their first since 2007, and twice delayed by the pandemic), the band are in a warehouse studio in a London industrial estate. Amid black drapes and hundreds of flight cases, lights are set up for a BBC TV interview that is interrupted comically frequently by hammering and drilling from building works outside. After about half a dozen false starts, a bearded roadie is dispatched to “make it stop”. Beeb interview duly in the can, I am ushered into a side room to meet Banks, Phil Collins and guitarist-bassist Mike Rutherford.

Collins has suffered a well-documented period of extended ill health over the past few years: dislocated vertebrae led to nerve problems that have stopped him drumming, and he is diabetic. He is frail and seems slightly distracted, walks with the aid of a stick, but is in good spirits. Banks and Rutherford are self-deprecating and relaxed.

Formed at Charterhouse school in 1967 by Gabriel, Banks, Rutherford and guitarist Anthony Phillips, the band started out making fey acoustic pop, unrepresentative of what was to come. Their 1969 debut LP, From Genesis to Revelation, tanked (supposedly, copies often ended up in the religious section of record shops) and various lineup changes followed before the stronger second album, Trespass. Needing a drummer who could drive their increasingly complex material, the band found a young Collins, in 1971, along with virtuoso guitarist Steve Hackett, in time to record the bona fide prog classic album Nursery Cryme. Typified by the heavy 10-minute epic The Musical Box – a macabre tale involving croquet, decapitation and a haunting – Nursery Cryme had a keenly chiselled dynamic range and fantastical lyrics.

Subsequent albums such as Foxtrot, Selling England By the Pound and The Lamb Lies Down on Broadway positioned Genesis at the top of the progressive tree alongside the likes of Yes, King Crimson and Emerson, Lake & Palmer. By 1974, relations with Gabriel had become fraught. After he informed the band that he was leaving during the Lamb Lies Down on Broadway tour, Genesis auditioned more than 400 potential singers, with Collins taking on the arduous task of guiding them through the melodies. Eventually, it dawned on everyone that he had a better voice than the lot of them. Did he actually enjoy singing, though?

“I did enjoy it,” he explains. “I set out what I would do and what I wouldn’t do. I personally felt that some of the visuals, the costumes and so on, were getting in the way of the vocals.” Gabriel had variously dressed up as a flower, fox, bat and the fascinatingly pustular creation Slipperman. “I didn’t think I’d be very good at doing that theatrical stuff anyway. So I said: ‘Look, I can sing the songs, but anything else will be a bit of a question mark.’” Collins did get in on a bit of Gabrielian horseplay in the end. “I was on stage running around and talking to the audience … the only [costume] I did was Robbery, Assault and Battery. I put on a jacket and a hat and became the Artful Dodger.”

The first Collins-fronted LP – 1976’s A Trick of the Tail – was well received, while next, Wind & Wuthering, saw a conscious taming of some of Genesis’ more fantastical elements. More turbulence was on the cards, however, as Hackett left in 1977 to pursue a solo career. Collins, Rutherford and Banks recorded And Then There Were Three the following year.

Banks remains surprisingly sanguine about Hackett’s departure. “Mike suddenly had to play more lead guitar so there was a moment or two of getting that together.” He turns to Rutherford: “I think you did a good job, actually!” Collins pinpoints 1980’s Duke as “the more progressive change. And then [the 1981 LP] Abacab was where there was a really conscious change. But the comings and goings of the various musicians? It didn’t affect our trajectory as much as all that. After all, a large percentage of the group – us three – was the same. And we were all writers.”

But how, exactly, did Genesis move from being titans of prog – famed for 20-minute epics, lofty concept suites and bizarre costume changes – to stadium-filling 80s everyman popsters? The band remain adamant that the punk and new wave explosion of the late 70s had next to no impact on them, despite the fact that prog was – almost overnight, and with serious critical venom – deemed passé.

“The thing was, I didn’t like a lot of the bands that they didn’t like, too,” says Collins. “I always saw us as slightly separate from all of that. And when punk happened, we were away an awful lot – three American tours and three European tours. I used to get Melody Maker and all those papers every single week, but I wasn’t getting them any more. The short periods that I was at home, I don’t think I heard a single Clash record or Damned record. It just passed me by.”

“I always felt we were lucky to be the last ones left standing,” adds Banks. “Our competitors – people like Yes and ELP – had faded by that point. So we were the last of that prog bastion. We actually had our first hit record – Follow You Follow Me – during the height of punk. It kind carried us through that time.

“It’s funny, I remember walking down Wardour Street one day and saw this guy in full punk kit: ears pieced, pins, leather jacket. He ran up to me and said: ‘Tony Banks! I really need your autograph!’ And he pulls out this copy of Pretty Vacant for me to sign. It actually showed what I’d always known: that people have multiple tastes, people aren’t stuck in a rut. They like a bit of this and a bit of that.”

Duke and Abacab were markedly different – the trio entered the studio without any pre-written material, improvising in a spirit of equal collaboration. The former was punchier and rockier than anything that had come before; the latter colder and synth-led. Both were – by comparison to their 70s material – polished to a fine sheen. They also, however, became overshadowed by the profile of Collins who had – by 1981 and the release of his album Face Value – embarked on a phenomenally successful solo career (Banks and Rutherford also released significantly more leftfield solo work around this time). Immediately suited to the transatlantic AOR FM dial, the Collins solo sound was slick, emotive, personal – a different animal to Genesis, with more overt R&B and pop influences.

“Phil was on a roll in the 1980s,” Rutherford says. “ Everything that he touched came good – everything. His first solo album went ballistic just when we were about to release Duke – it was good timing!”

“It helped us,” agrees Banks. “Most band members start solo careers because they aren’t happy with the band or they’re frustrated. We did it for variety and change. It made us look forward to coming back to Genesis. We’d come in with no idea and just see what happened. The drum machine might come on; I’d play a riff. We’d improvise.” Citing Land of Confusion from 1986’s Invisible Touch, he says: “I was amazed by how concise we could be.”

Invisible Touch remains Genesis’ biggest album, the title track reaching No 1 in the US. It is this iteration of Genesis that became a byword for slickly efficient pop, far removed from the Gabriel era. Genesis gained a younger, MTV-generation audience, many of whom were completely unaware of the band’s leftfield past. Bret Easton Ellis ended up including an entire chapter dedicated to the band – and the solo works of Collins – in American Psycho, with Patrick Bateman dissecting them in disturbingly forensic detail, making this era of Genesis a byword for 80s excess (needless to say, Bateman dislikes the Gabriel songs).

“Everything just kept getting bigger,” says Collins. “It just caught fire, and my solo records were doing very well in America, too – it all converged.”

“I don’t think we felt much pressure,” adds Banks. “We were confident. You have to remember: it had been such a slow trajectory for Genesis. It was 10 years before we even had anything played on radio!”

But what about pressure today? In the aforementioned BBC interview, Collins mentioned, as he frequently has in the past, his inability to play the drums; his 20-year-old son Nic will play them on the forthcoming tour. But what, I wonder, about singing? A three-hour arena show is a serious physical undertaking – what does he do to stay vocally fit?

“I don’t do anything at all,” says Collins, as Banks and Rutherford look on, uneasy for the first time. “I don’t practise singing at home, not at all. Rehearsing is the practice. These guys are always having a go at me for not, but I have to do it this way. Of course, my health does change things, doing the show seated changes things. But I actually found on my recent solo tours, it didn’t get in the way; the audience were still listening and responding. It’s not the way I would have written it, but it’s the way that it is.

“Playing with Nic, though? That’s been easy,” he continues. “He started playing with me when he was 16. If I feel that he should concentrate on something to make it better I’ll mention it and he’ll come back the next day and he will have done it. He doesn’t need constant nudging; he pulls it together with remarkable ease. I used to take him and his younger brother to school in the car, and they’d put on a Genesis live CD, so he’s been around it for a long time. I’d just let him play down in the playroom and I’d hear his progress; he’s been playing well for as long as I can remember. I’ve got videos of him from when he was five years old just standing and playing. He pretty much taught himself – occasionally I’d nudge him in the right directions.”

As The Last Domino? is likely to be the final major Genesis tour, do the three feel a sense of nervous energy? “A little,” says Banks. “But I always feel like a bit of spectator up there. It’s not real, in a way … You just do it. It’s gratifying to hear the songs you’ve written getting a great response but I’ve never …” He pauses. “The fame thing doesn’t interest me at all.”

“We’ve been doing this for 50 years now,” concludes Rutherford, slightly wistfully. “It’s just …” and he pauses, too. “It’s what we do.”

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As more and more concerts go on the books for the fall, Genesis becomes one of the first to announce a major arena tour, announcing rescheduled North American tour dates for their “The Last Domino?” tour, the first time in 14 years the group has played the continent. The tour will see core members Tony Banks, Phil Collins and Mike Rutherford joined by Nic Collins on drums and the band’s long-time lead guitar and bass player Daryl Stuermer. The tour will follow the group’s U.K. and Ireland dates in September and October.

Kicking off at Chicago’s United Center on November 15, 2021, the tour is scheduled to continue on to Washington, D.C., Charlotte, Montreal, Toronto, Buffalo, Detroit, Cleveland, Philadelphia, while also making two stops in the New York metro area at Madison Square Garden on December 5, 2021, and at the brand new UBS Arena in Belmont Park on December 10, 2021. The tour will also stop in Columbus and Pittsburgh before wrapping in Boston on December 15, 2021, at TD Garden.

“The Last Domino?” North American Tour 2021 marks the first time Genesis has performed stateside since 2007’s “Turn It On Again: The Tour,” which went on to be one of the biggest grossing tours. According to the announcement, the long-running group has sold more than 100 million albums worldwide and was inducted into the Rock & Roll Hall of Fame in 2010.

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Tickets for all shows will be available first through a presale powered by Ticketmaster Verified Fan on May 5, followed by the general public on-sale on May 7. Fans must register for access between now and Sunday, May 2 at 11:59 pm ET. If verified and selected, fans can secure their tickets beginning Wednesday, May 5, at 10 am local time. Beginning May 7, tickets will be available through a public on-sale.

Venues in all the tour cities (except Cleveland and Philadelphia) will utilize Ticketmaster’s digital ticketing, by which attendees’ mobile phones become their tickets.

Fans can also choose from a variety of VIP package options, available beginning Wednesday, May 5 at 10 am local time.

The tour and all venues will be following all mandated precautions in accordance with state and local regulations so as to provide the most secure, Covid-19-free environment possible.

The tour is promoted by EMC Presents by arrangement with Solo and Tony Smith Personal Management.

Genesis   The Last Domino?  North American Tour 2021

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Genesis’ Reunion Tour: 8 Questions We Have

By Andy Greene

Andy Greene

Genesis announced a 10-date reunion tour of the U.K. and Ireland this morning. It’s their first tour since 2007, their first time playing since Phil Collins suffered nerve damage that makes it impossible for him to drum or even stand for long periods of time, and their first tour with Phil’s teenage son Nic on drums.

The news is a huge deal for fans of the progressive-rock band, but the original announcement was short on details. It merely lists the five musicians on the tour (Phil Collins, Tony Banks, Mike Rutherford, Daryl Stuermer, and Nic Collins) and the dates, along with basic information about the band’s history. It leaves a great deal of questions unanswered. Here are eight of them.

1. Is the tour coming to America? As of now, there are just 10 shows confirmed, and they’re all in the U.K. and Ireland. It’s hard to imagine Genesis going to all this trouble for a mere 10 concerts. They probably wouldn’t even break even since they aren’t exactly a band that uses a bare-bones live setup. Ever since Peter Gabriel walked onstage with a fox head and his wife’s red dress in 1972, they have pushed the envelope when it comes to thrilling audiences, even if it costs them a fortune. It’s quite reasonable to expect that this show will go around the globe in 2021 and probably even hit stadiums in Europe, but that’s just speculation right now.

2. What songs will they do? The Genesis that scored a huge radio hit with “Invisible Touch” in 1986 and the Genesis that recorded The Lamb Lies Down on Broadway with Peter Gabriel a little more than a decade earlier are essentially two different entities with two different fan bases. The Eighties hits are the reason they’re still able to fill enormous venues, but the Seventies prog tunes have a very large and loyal audience. Tribute bands that do nothing but Gabriel-era tunes do very well on the road. That makes it hard for the group to craft a set list that pleases everyone. The 2007 reunion tour was heavy on radio hits, but also carved out space for Seventies songs like “Ripples,” “In the Cage,” and “The Carpet Crawlers.” We’re interested to see how they’re going to walk that line this time.

3. Was Peter Gabriel invited to be a part of this? The Lamb Lies Down on Broadway lineup of Peter Gabriel, Phil Collins, Steve Hackett, Tony Banks, and Mike Rutherford secretly met in 2005 to talk about the possibility of a reunion tour. When Gabriel expressed misgivings, it morphed into a Collins/Banks/Rutherford tour. But Gabriel has a lot less on his plate these days. He hasn’t released an album of new songs since 2002’s Up and hasn’t played shows since he went out with Sting in 2016. Did they try to get him on board again this time, or did they figure it just wasn’t worth the hassle?

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4. How about Steve Hackett? Guitarist Steve Hackett was only in the band from 1971 to 1977, but that’s basically their entire progressive-rock era. He makes a very nice living playing Genesis songs on tour these days with his solo band. By coincidence, he’ll be playing their 1977 live album Seconds Out in England at the exact same time as this tour. In some cities, they’ll miss each other by a matter of days. The problem is that it doesn’t make sense for them to have him onstage while they’re playing “I Can’t Dance” and “Invisible Touch.” It really only makes sense for him to return if Gabriel is back too, but we don’t know yet if they even considered it.

5. Is this a farewell tour? Phil Collins has a history of giving his tours cheeky names. His 2004 tour was called First Final Farewell and the most recent one was Not Dead Yet. This one is called The Last Domino? after Genesis’ 1986 two-part epic “Domino.” The phrase seems to imply that this is the last one, but the question mark gives them a pretty clear out should they decide to do another one.

6. Is Nic the sole drummer? When Phil Collins moved from the drum kit to the front of the stage in 1976, Genesis hired former Yes drummer Bill Bruford to join them on tour. But there was always a second kit near him, and Collins played alongside him during instrumental breaks. The same thing happened with drummer Chester Thompson from 1978 to 2007. Discounting the brief 1997–98 Calling All Stations tour with replacement singer Ray Wilson and drummer Nir Zidkyahu, they haven’t played a show with a single drummer since 1975. Will Nic handle everything himself, or will someone (Chester Thompson?) play alongside him to re-create the classic two-drummer Genesis sound?

7. Will this lead to a new album? There hasn’t been a new Genesis album since 1997’s Calling All Stations, and there hasn’t been one with Phil Collins since 1991’s We Can’t Dance. That’s nearly 30 years at this point. Might this tour finally lead to new material? Then again, Collins hasn’t recorded an album of solo songs since 2002’s Testify . We no longer live in a world where a guy his age can sell albums, and he doesn’t seem too interested in trying. That makes a new Genesis album pretty unlikely, but it’s more likely now than it was before this tour announcement.

8. Could this pave the way for a tour with Peter Gabriel and Steve Hackett down the line? Genesis fans have been dreaming about a reunion tour with Peter Gabriel and Steve Hackett for more than 40 years. It nearly happened in 2005, but Gabriel’s cold feet stopped it and then Collins’ health problems made it seem impossible. Collins is still incapable of drumming, but he could play very light percussion and help out on background vocals while Nic does the heavy lifting. Might a full reunion of the classic Seventies lineup finally happen after the upcoming tour wraps up? It seems pretty unlikely, but so did a Genesis tour of any sort and look where we are. As with everything regarding Genesis, we’ll just have to wait and see.

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The tour kicks off November 15th at Chicago’s United Center and will end December 15th at Boston’s TD Garden.

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Genesis has rolled out dates for the North American leg of their The Last Domino? tour. It kicks off November 15th at Chicago’s United Center and will end December 15th at Boston’s TD Garden. Pre-sale tickets go on-sale via Ticketmaster’s Verified Fan system on May 5th and the general public will have access on May 7th.

Genesis has been completely inactive since the end of their 2007 Turn It On Again reunion tour. This time out, core members Phil Collins , Mike Rutherford, and Tony Banks will be joined by their longtime touring guitarist/bassist Daryl Stuermer and Phil’s twenty-year-old son Nic Collins on drums. He’s been gigging with Phil’s solo band for the past five years, but he has yet to play in public with Genesis.

Before the North American dates, the group’s world tour is slated to begin September 15th at Dublin’s 3Arena. The group was supposed to start last November, but the pandemic forced them to push it back nearly a year. To keep eager fans entertained, the group went through extensive production rehearsals, which they teased in January with a 50-second video that revealed aspects of the stage set.

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In other Genesis news, there’s also a forthcoming book covering the band’s post-Peter Gabriel era coming in July. Genesis: 1975 to 2021 – The Phil Collins Years , was written by Italian music journalist Mario Giametti and will be published by Kingmaker Publishing on July 15.

For more information on The Last Domino? Tour, visit Genesis’ official website .

Genesis ― North American The Last Domino? Tour Dates:

November 15th – Chicago, IL @ United Center November 18th – Washington, DC @ Capital One Arena November 20th – Charlotte, NC @ Spectrum Center November 22nd – Montreal, QC @ Centre Bell November 25th – Toronto, ON @ Scotiabank Arena November 27th – Buffalo, NY @ KeyBank Center November 29th – Detroit, MI @ Little Caesars Arena November 30th – Cleveland, OH @ Rocket Mortgage FieldHouse December 2nd – Philadelphia, PA @ Wells Fargo Center December 5th – New York, NY @ Madison Square Garden December 8th – Columbus, OH @ Nationwide Arena December 10th – Belmont Park, NY @ UBS Arena December 13th – Pittsburgh, PA @ PPG Paints Arena December 15th – Boston, MA @ TD Garden

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Genesis perform last ever concert with Peter Gabriel in attendance

Phil Collins confirms it's their final show

Genesis performed their last ever concert at London’s The O2 on Saturday night (26th March) with their former frontman Peter Gabriel in attendance.

Before performing ‘Land of Confusion’, Phil Collins confirmed that their third of three sold out shows at The O2 was indeed Genesis’ final concert.

“Tonight is a very special night. Of course, we’re playing in London and it’s the last stop of our tour, and it’s the last show for Genesis,” a visibly emotional Phil Collins said.

Following a minute of applause from the crowd, Collins quipped: “It’s difficult for us to believe that you still came out to see us! Yes, after tonight we’ve all got to get real jobs!”

Phil Collins announces Genesis’ end:

Later on in the set, ahead of playing ‘Domino’, Phil Collins directly addressed Peter Gabriel who was in the audience at The O2 but sadly never joined Collins, Tony Banks and Mike Rutherford on stage.

Fan site World of Genesis later shared a photo of Peter Gabriel backstage with Collins and their former tour manager Richard McPhail.

Saturday’s gig in London was the final night of Genesis’ 47-date The Last Domino? Tour across Europe and North America.

Genesis’ played a career-spanning 23-song set in London that boasted anthems including ‘The Lamb Lies Down on Broadway’, ‘I Can’t Dance’, ‘Mama’, ‘Turn It On Again’, ‘No Son Of Mine’ and ‘Invisible Touch’.

The night culminated with a performance of ‘The Carpet Crawlers’ from Genesis’ seminal 1977 album ‘The Lamb Lies Down on Broadway.’

Watch Genesis' final song at their final concert:

Genesis setlist at their last ever gig:.

Behind the Lines’ / ‘Duke’s End

Turn It On Again

Land Of Confusion

Home By The Sea

Second Home By The Sea

Fading Lights

The Cinema Show

The Lamb Lies Down On Broadway

Follow You Follow Me

No Son Of Mine

Firth Of Fifth

I Know What I Like (In Your Wardrobe) (with ‘Stagnation’ snippet)

Throwing It All Away

Tonight, Tonight, Tonight

Invisible Touch

I Can’t Dance

Dancing With The Moonlit Knight

The Carpet Crawlers

Album cover parodies, including Genesis:

Scott weiland – ‘12 bar blues’ (1998).

The late-great Stone Temple Pilots singer's debut solo album features a blue-tinged image of Scott on the cover.

John Coltrane – ‘Blue Train’ (1958)

From the image to the font, Scott Weiland's '12 Bar Blues' is a homage to jazz legend John Coltrane's landmark 'Blue Train' album from 40 years earlier.

Anthrax – ‘Kings Among Scotland’ (2018)

The thrash metallers' 2018 live album 'Kings Among Scotland', which captures their 2017 show at Glasgow's Barrowland Ballroom, came with this visually striking animated sleeve.

Kiss - ‘Rock and Roll Over’ (1976)

The Anthrax sleeve is an overt parody of the aesthetically vibrant animated cover to Kiss's fifth studio album 'Rock and Roll Over'.

The Clash - ‘London Calling’ (1979)

The seminal cover to The Clash's 'London Calling' features a black-and-white image of bassist Paul Simonon smashing his Fender Precision Bass at the Palladium in New York City. It was created by designer Ray Lowry.

Elvis Presley - ‘Elvis Presley’ (1956)

With its pink and green lettering and black-and-white photo, 'London Calling' pays direct homage to Elvis Presley's self-titled debut album from 23 years earlier.

Iron Maiden - ‘Powerslave’ (1984)

The heavy metal legends' long-term artist Derek Riggs designed the Ancient Egyptian themed cover to their fifth album 'Powerslave.' Truly one of the best sleeves in metal history.

Earth, Wind & Fire - ‘All n’ All’ (1977)

Visually, Iron Maiden's 'Powerslave' is extremely similar to Earth, Wind & Fire's album 'All n' All' from seven years earlier. Maiden artist Derek Riggs has dismissed the idea he copied the funk band, saying: "Somebody somewhere said it was inspired by an Earth Wind & Fire cover, but that's just crap. Because of the song Bruce wrote it had to be Egyptian, so I went back to the tomb of Rameses 2 and copied the idea from that (just like Earth, Wind & Fire did) but mine is better. It's also got a hieroglyph Micky mouse in the bottom left corner. Ha! Earth Wind and Fire don't have a Mickey Mouse. Obviously inferior." Well said, Derek!

Mötley Crüe – ‘Too Fast for Love’ (1981)

The artwork to Mötley Crüe's debut album features a close-up of a rock star's crotch area.

The Rolling Stones - ‘Sticky Fingers’ (1971)

Mötley Crüe's 'Too Fast for Love' is, of course, a tribute to The Rolling Stones' infamous 'Sticky Fingers artwork from a decade earlier. Created by legendary artist Andy Warhol, the visible outline of the model's manhood caused quite a stir upon the album's release 49 years ago.

Deep Purple – ‘Deep Purple’ (1969)

The dark and macabre cover artwork to 1969's self-titled 'Deep Purple' is adorned with the right-hand painting from Hieronymus Bosch's 15th Century triptych, The Garden of Earthly Delights. It depicts the horrors of hell.

Pearls Before Swine - ‘One Nation Underground’ (1967)

Deep Purple weren't the first band to use The Garden of Earthly Delights on their album sleeve – Floridian psychedelic folk act Pearls Before Swine used a slightly different part of the painting for their 1967 debut album 'One Nation Underground'.

Manowar - ‘Fighting the World’ (1987)

Manowar enlisted fantasy artist Ken Kelly to create the 'Fighting the World' sleeve.

Kiss - ‘Destroyer’ (1976)

The 'Destroyer' cover art was also designed by Ken Kelly and features Paul Stanley, Gene Simmons, Ace Frehley and Peter Criss standing atop some rubble with destroyed buildings in the background.

Led Zeppelin – ‘Physical Graffiti’ (1975)

Led Zeppelin's iconic 'Physical Graffiti' depicts two side-by-side tenement buildings located at 96 and 98 St. Mark's Place in New York's East Village. JFK assassin Lee Harvey Oswald, astronaut Neil Armstrong, Elizabeth Taylor as Cleopatra, King Kong, the Virgin Mary, Judy Garland and Led Zeppelin themselves are among the faces peering out of the windows.

Jose Feliciano - ‘Compartments’ (1973)

The concept for Led Zeppelin's 'Physical Grafitti' cover was allegedly inspired by the sleeve on Puerto Rican guitarist Jose Feliciano's 1973 album 'Compartments', which features different faces peering out of windows.

Genesis – ‘Land of Confusion’ (1986)

Just like the hilarious video, Genesis' 'Land of Confusion' single artwork features Spitting Image incarnations of Tony Banks, Phil Collins and Mike Rutherford.

The Beatles - ‘With The Beatles’ (1963)

Genesis' 'Land of Confusion' is a hilarious pastiche of the artwork on The Beatles' second studio album 'With The Beatles.'

The Who – ‘The Who Sings My Generation’ (1966)

The US edition of The Who's debut album 'My Generation' not only featured a different title and track list but also alternative artwork of Roger Daltrey, Pete Townshend, John Entwistle and Keith Moon stood in front of the Big Ben clock tower.

The Rockin’ Berries – ‘In Town’ (1964)

Two years before The Who's 'The Who Sings My Generation', Birmingham beat group The Rockin' Berries released their debut album 'In Town', which also featured an image of the band standing in front of the Big Ben clock tower against a blue sky. A minor hit, the album dented the UK album chart at no.15.

Tom Waits ‘The Heart of Saturday Night’ (1974)

Gravelly voiced singer Tom Waits' second album features an illustration of a tired Waits being observed by a blonde haired woman as he exits a neon-lit cocktail lounge late at night.

Frank Sinatra ‘In the Wee Small Hours’ (1955)

Tom Waits' 'The Heart of Saturday Night' is based on 'In the Wee Small Hours' by Frank Sinatra, which depicts the singer on an eerie and deserted street awash in blue-tinged streetlights. Tom Waits listed 'In the Wee Small Hours' as his favourite album of all time in a 2005 interview with The Guardian.

The Mothers of Invention - ‘We're Only In It for the Money’ (1968)

Frank Zappa's art director Cal Schenkel and Jerry Schatzberg photographed a collage for the 'We're Only In It for the Money' album cover that directly parodied The Beatles' 'Sgt. Pepper's Lonely Hearts Club Band', which was released a year earlier. Zappa's good mate Jimi Hendrix appears on the sleeve on the right hand side where the wax sculpture of Sonny Liston appears on The Beatles' sleeve. Much to Zappa's dismay, Capitol Records issued the album with an alternate photograph and the Beatles parody was demoted to the inside cover.

The Beatles – ‘Sgt. Pepper's Lonely Hearts Club Band’ (1967)

Here's the iconic sleeve to The Beatles' 'Sgt. Pepper's Lonely Hearts Club Band' designed by pop artists Peter Blake and Jann Haworth.

Lordi - ‘Beast Loose In Paradise’ (2008)

The monstrous Finnish metallers, who won the Eurovision Song Contest in 2006 with their song 'Hard Rock Hallelujah', released a single called 'Beast Loose In Paraside' in 2008 for the soundtrack to their film 'Dark Floors'. The artwork features a very blue photograph of Lordi.

Kiss - ‘Creatures of the Night’ (1982)

Lordi's 'Beast Loose In Paradise' single cover pays tribute to the sleeve to Kiss' 10th studio album 'Creatures of the Night'.

12. Uriah Heep – ‘Live at Shepperton '74’ (1986)

Released 12 years after it was recorded at Shepperton Studios in Surrey, 'Live at Shepperton '74' features a bootleg LP style brown paper sleeve with a stamp of the Uriah Heep band name and album title.

The Who - ‘Live at Leeds’ (1970)

Uriah Heep's 'Live at Shepperton '74' is clearly highly reminiscent of The Who's seminal 1970 live album 'Live at Leeds'. It could be argued that 'Live at Leeds' is in fact a homage to The Rolling Stones' bootleg LP 'Live'r Than You'll Ever Be' from 1969.

David Bowie ‘The Next Day’ (2013)

The cover to David Bowie's 24th studio album 'The Next Day' is a tweaked version of Bowie's 1977 album "Heroes" and features a white square obscuring the music legend's face. It was designed by Jonathan Barnbrook, who also created the 'Heathen' and 'Black Star' sleeves, and is meant to signify wiping out the past.

David Bowie – “Heroes” (1977)

Here's the "Heroes" cover from 1977 featuring an iconic image of David Bowie taken by photographer Masayoshi Sukita. The pose was inspired by German artist Erich Heckel's 1917 painting Roquairol.

Slade – ‘Till Deaf Do Us Part’ (1981)

Slade's tenth studio album featured a lovely image of a nail being hammered into an ear canal. Delightful stuff.

Manfred Mann's Earth Band – ‘The Roaring Silence’ (1976)

Slade's 'Till Deaf Do Us Part' is highly reminiscent of Manfred Mann's Earth Band's 'The Roaring Silence' from 15 years earlier, which features a huge outer ear with a mouth inside it. It was created by artist Derek Goldsmith.

Thee Oh Sees / Paul Cary – ‘Thee Oh Sees / Paul Cary’ (2010)

San Francisco alternative rock band Thee Oh Sees released a self-titled split 7" single with musician Paul Cary in 2010.

Rush – ‘Rush’ (1974)

Thee Oh Sees' single is of course a carbon copy of Rush's eponymous debut album from 1974.

David Byrne – ‘Grown Backwards’ (2004)

The Talking Heads frontman's sixth solo album features a photograph of Byrne gazing into the yonder.

Phil Collins – ‘… But Seriously’ (1989)

Genesis drummer/vocalist Phil Collins also gazed pensively into the yonder on his fourth solo album.

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Payne: The Genesis G90 is cool just sitting in your driveway

Oakland County — Luxury cars are becoming Brookstone gadget stores on wheels. Who needs to drive them? They’re just fun to play with.

Take the 2024 Genesis G90 sitting in my driveway.

With the key in my pocket, I walked up to the Genesis and it rolled out the red carpet. Make that lit carpet. A Genesis logo splashed on the ground in front of the door and the handles moved outward to my waiting hand. Coldwell Banker, do your house tours do this?

I slid into the posh seats, pushed the brake pedal and the door softly closed next to me. Push the door button and it swings back open (sensing the distance to the car next to you, of course). Step out, lightly tap the door handle button and the door swings closed. Show it off to your friends; you’ll be the envy of the neighborhood.

Show-and-tell luxury accessories have been coming fast and furious in recent years. There’s the Tesla Model 3/Y that will follow you like a dog, the Genesis G60 SUV that you can remote parallel park, the GMC Sierra’s Multi-Pro six-way tailgate including a stairway-into-the-bed, the Ram 1500’s mega-screen, the Lincoln Nautilus’s 48-inch pillar-to-pillar display.

The G90 shows off its cutting-edge tech inside a stunning sedan. Remember those? Cadillac and Lincoln long ago exited the big sedan market, so the Genesis is left to compete with icons like the Audi A8, BMW 7-series and Mercedes S-class. In an SUV-mad world, these loooong land yachts remind just how elegant the sedan figure can be.

The G90 debuted back in 2017 as an Audi knock-off and has since matured into its own style. The band’s signature dual lamps are on display — wrapped around  the front end like racing stripes — and are both instantly recognizable as one of the most handsome designs in class. My G90 tester doesn’t come cheap at $100K, but that’s 5 grand south of the comparable BMW 7-series I tested last summer — and showcases classic lines compared to the German’s new techno-punk wardrobe.

Like the Bimmer, the Genesis sports those mesmerizing auto-shut doors — and lots more toys inside. No, our tour still hasn’t got out of the driveway yet.

Fall into the palatial backseat (just press the door button and it silently closes behind you) and slip your shoes off. Press a button on the door and your chair turns into a Barcalounger.

The front passenger seat rolls forward to open up (even more) legroom while the backseat reclines. Out pops a thigh support so your legs can stretch out straight, my 6’5” drumsticks dangling in the air. Ahhhh.

Feeling sleepy? A center screen of controls is at your disposal so you can 1) close the rear sunroof (did I mention there are separate sunroofs for the front and rear passengers?), 2) cover the rear windows with blinds, 3) activate a massage, 4) heat/cool your seats, and 5) put on your favorite tunes (assuming the driver doesn’t mind).

Oh, yes, the driver.

The front thrones are not only beautifully designed (check out the concave steering wheel, flying buttresses bracketing the instrument display and butterfly console doors), but the cockpit can also be customized to your liking. Choose your graphic themes, font size, screen color, head-up display content. Three buttons on the steering wheel can be programmed with shortcuts to your most-used features — I performed mine for preset radio stations, audio mute and AM radio.

While Genesis has come into it own on interior/exterior design, the brand seems determined to give you feature options you might find on other premium brands. The center console screen can be controlled by touch (like an Audi) or by remote rotary dial (like a Bimmer). Radio presets can be swiped though via a Mercedes-like steering-wheel touchpad. And volume and adaptive cruise speed controls are easily manipulated via raised toggles like a Cadillac or GMC.

Speaking of speed, you’ll eventually want to drive the Genesis after ogling its blizzard of features. The experience doesn’t disappoint.

Mash the pedal and the 409-horsepower, twin-turbo V-6 responds with a mighty roar — thrusting you into traffic with impressive velocity (a 48-volt battery provides extra oomph) despite the yacht’s 5,156-pound curb weight. Sixty mph blows by just 5.1 seconds while the all-wheel-drive system provides welcome stability. A SPORT mode is on offer — tightening the seat bolsters around you — but this is no sportscar.

More enjoyable is adaptive cruise control, which automatically changes lanes on interstates. Parent Hyundai has been at the forefront of usable ACC systems, and the Genesis is no exception with lane-keep assist that is excellent for long drives.

I especially appreciated that Genesis had located the rotary shifter to the left of the rotary infotainment controller in the center console. Other Genesis models stack them, which can bring confusion — I’ve been caught out shifting the sister GV80 SUV into neutral, for example, when I though I was rotating between radio stations. Ugh.

Other ergonomics  still need tidying, however. For all its technical wizardry, G90 still requires a cable to operate Apple CarPlay and Android auto — cluttering the console. The dreaded STOP-START switch is in the nether regions of the left dash rather than right next to the ignition button as in BMW and Mercedes.

It's hard to be mad, though, when you have so many goodies at your fingertips.

I thrilled at the authoritative roar of the V-6 under my whip, but otherwise the cabin was whisper quiet during my week of cruising. Mrs. Payne and I conversed easily. In a sudden March blizzard, the all-wheel-drive system was unfazed and confident in the slippery conditions. Alas, that 48-volt battery cramps the cargo sub-space, meaning no spare tire should a tread come to grief.

Genesis competes with Bimmer and Merc with its 6-cylinder powertrain. The Germans up the ante to V-8s in their top-line models. Genesis is content to offer a 375-horse V-6 and the (48-bolt assisted) 409-horse mill in my tester.

After a haircut, my barber was keen to take a tour. She slipped into the driver’s seat, then beamed when the door closed at her press of the brake pedal.

I’m going to have to start charging for these tours.

Next week: 2024 Acura ZDX

2024 Genesis G90

Vehicle type: Gas-powered, all-wheel drive, five-passenger luxury sedan

Price: $90,450, including $1,195 destination charge ($100,695 e-Supercharged model as tested)

Powerplant: 3.5-liter, twin-turbocharged V-6

Transmission: Eight-speed automatic

Weight: 5,156 pounds

Power: 375 horsepower, 391 oound-feet torque (base); 409 horsepower, 405 pound-feet torque (e-Supercharged)

Performance: 0-60 mph, 5.1 seconds (Car and Driver); top speed, 132 mph

Fuel economy: EPA est. 17 city/24 highway/20 combined (as tested)

Report card

Highs: Tech-tastic; handsome design

Lows: Wireless Apple CarPlay, please; gets pricey

Overall: 3 stars

Henry Payne is auto critic for The Detroit News. Find him at [email protected] or @HenryEPayne .

5 big-name PGA Tour golfers missing from The CJ Cup Byron Nelson 2024

T he CJ Cup Byron Nelson at TPC Craig Ranch is the next stop for the 2024 PGA Tour event. The field boasts a stellar lineup featuring some of the world's top-ranked golfers.

K.H. Lee is among those contending for his third victory at Byron Nelson, and Jordan Spieth will also be competing this week. However, the event will miss some big names, including current World No. 1 Scottie Scheffler.

Here are the top five big-name golfers missing from the CJ Cup Byron Nelson 2024.

#1 Scottie Scheffler

Scottie Scheffler, who has won four tournaments this season, will miss this week's CJ Cup Byron Nelson event. He last played at the RBC Heritage and emerged victorious. He missed last week's Zurich Classic and will also be absent from this week's event.

#2 Rory McIlroy

Rory McIlroy, alongside Shane Lowry , clinched victory at the 2024 Zurich Classic of New Orleans. McIlroy has performed consistently well this PGA Tour season, participating in nine events, securing one victory, and achieving two top-10 finishes. However, he will not tee off at the Byron Nelson.

#3 Viktor Hovland

Viktor Hovland has participated in a limited number of tournaments this PGA Tour season. Starting at The Sentry , he finished in 22nd position. Throughout six events, Hovland made the cut in five but failed to do so at the Masters and has not competed since.

Hovland did not have any top-10 finishes so far. His best was recorded at The Genesis Invitational, where he tied for T19 finish.

#4 Wyndham Clark

Wyndham Clark, despite an impressive season, will also be absent from the CJ Cup Byron Nelson field. Clark competed in 10 tournaments this season, winning the 2024 AT&T Pebble Beach Pro-Am, securing two runner-up positions, and four top-10 finishes.

Clark last played at the RBC Heritage and settled in a tie for third place.

#5 Patrick Cantlay

Patrick Cantlay, alongside his best friend Xander Schauffele , competed in the Zurich Classic of New Orleans last week, finishing in a tie for 23rd place. Cantlay participated in ten events this season, making the cut in all of them, securing two top-10 finishes, and achieving six top-25 finishes.

Patrick Cantlay started the season with a T12 finish at The Sentry and then finished T52 at The American Express. His season's best finish was recorded at RBC Heritage when he tied for T3 with Clark. He finished in T4 at The Genesis Invitational.

Scottie Scheffler makes remarkable look routine, wins RBC Heritage comfortably

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HILTON HEAD ISLAND, S.C. – Scottie Scheffler wasn’t supposed to win the RBC Heritage.

Scheffler did it anyway, and no other outcome seemed plausible after two holes of the final round. Generational superstars make the remarkable look routine, like it was always destined to happen, but make no mistake, that’s not normal, no matter how Scheffler made it appear.

The world No. 1 looked at ease as he fired a final-round 68 to win the RBC Heritage by three shots. He entered the fourth round up by one, but after a miraculous eagle chip-in on No. 2 that Scheffler made look mundane, it was about over. The final 16 holes were a formality, a slow coronation for King Scheffler that thunderstorms pushed to Monday. Scheffler played his final three holes Monday morning, capping it with a meaningless bogey on 18.

Scottie Scheffler's chip-in eagle is the Shot of the Day

“We've seen people do this over the years as far as excellence for time, over a little bit of time,” Max Homa said. “His seems to be sustained a bit longer than I can remember from a lot of people. It's not utterly shocking what he does. He just does it over and over and over again.

“That's amazing. … He almost makes it seem very realistic that we should do that.”

Homa’s quote wasn’t from Sunday. He said it Wednesday, less than 24 hours before the tournament began, and that assessment is even more true now than it was then.

Scheffler made two bogeys or worse all week – the first was a double bogey on the third hole of his first round. The second came on the 72nd hole. In between, it was flawless golf. Scheffler has won four of his last five starts. He’s won 10 times on TOUR in his last 50 starts. He’s lost to only one golfer since the start of March: Stephan Jaeger at the Texas Children’s Houston Open.

Top players spent the early part of the week gawking at Scheffler’s success and admitting there was a gap between them and him. Still, there’s supposed to be a letdown after a win, especially a major championship. It’s a mentally taxing and draining experience. The stress and energy of contending can wear down even the best, and Scheffler is a meticulous preparer, treating practice rounds with the intentionality if not quite the intensity of a final round.

Scottie Scheffler news conference after winning at RBC Heritage

He showed up to Harbour Town Golf Links for the first time Wednesday, taking the early part of the week to celebrate his Masters win and recharge back home. He didn’t see the course’s front nine until he played the first round. He admitted one eye was at home in Dallas, where his wife Meredith draws closer and closer to giving birth to their first child. He was prepared to walk off the course at any moment if she went into labor. That was the field’s only hope, as it turns out.

The quick turnaround and shortened practice time led to a sluggish start as Scheffler was even for his first 15 holes Thursday. Although he birdied Nos. 16 and 17 for a 2-under 69, he was already six shots behind after Round 1. His caddie, Ted Scott, had noticed some fatigue.

The great ones, though, do not panic, comforted by the knowledge that over time their stuff is superior and will win out. Scheffler would never say such a thing (too brash), but his clubs say it for him. Exhibit A: He shot a 6-under 65 on Friday, and that night the deficit was just three. Then he shot 63 on Saturday to leave little doubt: He was going to win again.

“He’s a physical specimen, I mean honestly he is,” Scott said. “He’s in incredible shape and you have to be to have mental fortitude. You have to get your body in physical shape so you can be mentally in it.”

Mentally, Scheffler said he’s never been in a better place on the golf course.

Scottie Scheffler’s Round 4 highlights From RBC Heritage

“I look back to Bay Hill, and I got off to some poor starts there, especially on the greens,” he said. “I'm just proud of how quickly I've been kind of fighting back from those little mistakes throughout the round and handling the surprises and stuff when it doesn't really go as planned. I think I've become better at managing that.”

A prime example came as the darkness descended Sunday night. Standing in the middle of the fairway on the par-5 15th, Scheffler duck hooked a 4-iron into the water. He was shocked. The swing was good; the strike was solid. But there was mud on the ball that he didn’t see.

Still up by five, Scheffler had plenty of breathing room, but he didn’t want to drop a shot. He slung a wedge around the tall trees guarding the hole and buried the 11-foot par putt despite having the option to wait and putt it in the morning, as his playing partner, Sepp Straka, did.

“The level of satisfaction of something like that is pretty high … to keep myself in position and not really give the guys behind me too much hope,” Scheffler said.

That mental strength is driven partly by on-course performance. Scheffler has regained confidence on the greens after switching to a mallet putter. That helps. But it’s also bred from his consistent cadence off the course. After pouring in eight birdies on Saturday, seven of which came from inside 12 feet, Scheffler did what he often does on the road. He went back to the rental house with frequent TOUR roommate and best friend Sam Burns and watched a movie. Tom Kim stopped by, as he had a few other times during the week. The routine was the same.

Burns, who has known Scheffler since their junior golf days, couldn’t sense a shift in Scheffler at any point during the week. Other than his late arrival, nothing was different.

“Just his normal self, pretty laid back,” Burns said.

Burns drew parallels to Scheffler’s golf, which hasn’t changed much over the years. The ability to dominate was always there.

“He's playing incredible golf,” Burns said. “He has a ton of confidence and he's also really good. It's a good combo. You have those three things working together and then you get what you got. He's the best in the world by a long way.”

Scheffler admitted he is starting to realize his stature is changing, although it still catches him off guard. Large crowds packed in to watch him tee off on Saturday. When he reached the first green, he looked back at those same bleachers a few hundred yards away. They were empty, even with the final five groups still to tee off.

“It was really interesting,” he said, still seeming a bit surprised. “It felt to me like the crowd was coming with me (Saturday), and there was definitely a lot of cheers out there.”

Scottie Scheffler closes out 72nd hole to cement 10th win at RBC Heritage

It’s new territory for the Texan. He has occupied the top spot in the world ranking for the last 48 weeks, but the general public seldom treated him like a sports idol. His understated personality, as genuine as it is, did not attract the masses, and he has actively avoided the spotlight. But his dominance is the draw now. The crowds are bigger and the cheers are louder as the golf world eagerly watches Scheffler make history, everyone wondering: How long can he keep it going?

“People like to see something special and they’re seeing it,” Scott said. “It’s easy to get behind a person like him, he’s easier to cheer for.”

Woods was the last player to win four times in five starts, back in 2008. Since 1983, Only David Duval has needed fewer starts to get from win No. 1 to win No. 10. Scheffler’s final-round 68 was his 40th consecutive round of par or better. He’s outperformed the field average in 36 of those rounds. Fans flock to dominance. It’s happening in the women’s game, with Nelly Korda at five straight wins and counting. It’s here for Scheffler as well.

Maybe things will change, as Scheffler is about to become a dad, knocking golf further down his list of priorities. He wants to be a better parent than he is a golfer, and perhaps that will take time away from his practice and preparation. Maybe then, he will fall off.

Don’t hold your breath.

“I grew up watching the end of Tiger,” Theegala said Saturday night. “Got to see Rory (McIlroy), DJ (Dustin Johnson), Jordan (Spieth), like all these guys kind of dominate for a period of time, and I was like, we could be in the midst of something really, really special.”

It was as if Theegala knew what was coming, and maybe he did. Maybe, deep down, we all did.

The Rolling Stones setlist: Here are all the songs on their Hackney Diamonds Tour

It doesn’t matter that both Mick Jagger and Keith Richards are 80.

As long as they’re sharing a stage, the Rolling Stones will continue to defy age and energy.

The band’s 16-city stadium sprint – sponsored, appropriately, by AARP – kicked off April 28 at NRG Stadium in Houston and will play through July 17 in Santa Clara, California. In between, the Rolling Stones will visit cities including Las Vegas, Atlanta, Philadelphia, Cleveland and Chicago.

In October, the band released “Hackney Diamonds,” their first new album since 2005. For this complementary tour, Jagger, Richards and Ronnie Wood – along with durable supporting players Chuck Leavell, Darryl Jones, Matt Clifford, Karl Denson, Tim Ries, Steve Jordan (who assumed rhythm duties after the 2021 death of original drummer Charlie Watts ) and background vocalists Bernard Fowler and Chanel Haynes – shined on stage for two hours.

The 18-song set was stuffed with iconic rock anthems including “Jumpin’ Jack Flash,” “Start Me Up,” and “Miss You”, along with a smattering of new songs from “Hackney,” including the Grammy-nominated “ Angry .”

Stadiums, which the band has played for nearly 50 years, still suit their blues-splattered rock and indefatigable frontman Jagger, who still slithers effortlessly, remains an undisputed legend.

More: Rolling Stones and Lady Gaga give stunning performance at intimate album release show

The Rolling Stones’ Hackney Diamonds Tour set list

• "Start Me Up"
• "Get Off My Cloud"
• "Rocks Off"
• "Out of Time"
• "Beast of Burden"
• "Mess It Up"
• "Tumbling Dice"
• "You Can't Always Get What You Want"
• "Little T&A" (Keith Richards on lead vocals)
• "Sympathy for the Devil"
• "Gimme Shelter"
• "Honky Tonk Women"
• "Paint It, Black"
• "Jumpin' Jack Flash"
• "Sweet Sounds of Heaven"
• "(I Can't Get No) Satisfaction"