Phil Collins
By John Lappen
The Hollywood Reporter
Arrowhead Pond, Anaheim
Thursday, Aug. 26
Phil Collins really knows how to make an entrance. The diminutive English superstar wasted no time getting down to business at the start of his dazzling 150-minute Orange County performance. It was the first stop on his current North American tour; cheekily dubbed the "The First Final Farewell Tour," obviously a humorous nod to some of his contemporaries who've been on farewell tours for 15 years or more.
Instead of easing into the gig with one of his trademark smash ballads, Collins grabbed his sticks and began bashing out a rhythmic drum solo that immediately got the packed house up on its feet. Joined after a few minutes by fellow drummer Chester Thompson and percussionist Luis Conte, the trio banged out a terrific 10-minute drums-percussion opening that had the crowd roaring with approval. Just when it seemed like it was over -- bam! -- a blaring four-piece horn section hit the stage, standing at the back of a tiered riser, backed by an immense video screen that was filled with colored lights. As the horns belted out their parts, the rest of the band -- two guitars, bass, keyboards and, count 'em, six backup singers -- joined in. Collins jumped out front and center to take the lead vocal of this urgent, driving opener as an additional barrage of multicolored lights kicked in and the band kept up its frantic pace. It was an exhilarating and exciting opening to a classy, professional show that mostly showcased the singer's numerous chart hits since his ascent as a solo artist to the top of the pop heap in the early 1980s.
After not appearing on U.S. soil as a concert performer in some time, it was impressive to hear Collins run through hit after hit after hit, along with some choice covers, backed by his outstanding band that also included top jazz saxophonist Gerald Albright and always-on-the-money bass vet Leland Sklar. The talented group took it down some on the energy scale after that smashing beginning as he ran through beautiful A/C hit ballads like "You'll Be in My Heart," from Disney's "Tarzan" soundtrack; "One More Night," which featured Albright on a seductive solo; "Can't Stop Loving You"; a stripped-down version of the Cyndi Lauper hit "True Colours" that was just Collins, Albright and the backup singers; and a drop-dead gorgeous "Separate Lives" that deserves a spot in the tearjerker hall of fame.
The set was well-paced throughout as the affable but not very talkative Collins mixed lush ballads with jumping, horn-driven, R&B-flavored pop. It was difficult to say which style of song suits Collins better as he does both so well. The poignancy of the ironically titled "Another Day in Paradise," a song about the plight of the homeless, was counterbalanced by the midtempo turn of "I Missed Again." The dark foreboding of "Something in the Air," which Collins played to perfect dramatic effect as he walked slowly around the huge stage, was offset by a driving cover of "You Can't Hurry Love." Collins and band interacted as one on whatever was played, and the genial host allowed both band members and singers generous solo spots. It was a strong performance by a focused artist committed to his craft . If indeed this is his last go-round as a live performer, and it shouldn't be, he's leaving us with one helluva show to remember him by.
Hello, he must be
going: Collins bids LV farewell
By Spencer Patterson
LAS VEGAS SUN
MGM Grand Garden Arena.
Rating (out of 5 stars): ***
Phil Collins gave his latest tour a silly name -- "First Final Farewell" -- but he insists he's not fooling around about retiring from the road at tour's end.
"It isn't a joke, actually," Collins told Las Vegas fans Saturday night at the MGM Grand Garden Arena. "This is the last time."
The announcement was met with a chorus of loud boos from the near sell-out crowd of about 12,000.
Otherwise, everything the 54-year-old headliner did was received warmly by an audience sorry to see him end a performing career dating from 1970 and his early years with British rock band Genesis.
Looking a bit like a Buddhist monk in loose-fitting gray pants and matching tunic, Collins opened the show on drums. His familiar bald head bounced up and down as he teamed with Chester Thompson and Luis Conte on a tribal three-man drum introduction.
Collins then moved to the front of the stage, where he spent most of the show at the head of a 17-member ensemble, singing the tunes that have made him a steady presence on FM radio between stints with Genesis.
The London native seesawed between light and serious moods all night, as when he followed up the playful "I Missed Again" with the moving "Another Day in Paradise."
On the former, Collins shuffled and half-stumbled around the stage, as the song's goofy 1981 video played in the background.
For the latter, the giant-screen backdrop served a more somber purpose, flashing staggering statistics about homelessness -- "Europe 2.5 million homeless," for example -- above the word "Paradise."
Most of the two-hour, 20 minute concert was choreographed down to the second, from the four-piece horn section's dance moves to a conga line in which six backing vocalists followed Collins across the stage.
That relative lack of spontaneity made the event feel a bit more like a production show than a rock concert, but it also allowed for one particularly indelible moment during Collins' signature song, "In the Air Tonight."
Wearing a headset microphone, the vocalist slowly walked down a set of stairs, across the stage and up another set of stairs while singing the tune's sinister lyrics.
As he reached the center of the upper level, a hidden drum set rose up. Collins sat and picked up two sticks, just in time to bash out the song's famous drum crescendo.
Such instances of musical intensity were few, however, in a set heavy on ballads and middle-of-the-road numbers closer to adult contemporary than rock 'n' roll.
Saxman Gerald Albright is immensely talented, but his skills were largely wasted with smooth jazz arrangements that made "Against All Odds (Take a Look at Me Now)" and "One More Night" even sleepier than usual.
A closing string of upbeat hits -- "You Can't Hurry Love," "Two Hearts," "Easy Lover" and "Sussudio" among them -- sent the crowd home smiling, but considering the concert was to be Collins' last in Las Vegas, a Genesis medley would have been a nice finishing touch.
Instead, Collins performed just one of that band's tunes, "Misunderstanding," and made mention of the group only once, while thanking the crowd for being good to him during Vegas visits over the years.
Collins' retirement announcement comes as something of a surprise to many, considering his distinctive voice remains in fine shape. He struggled to reach a few high notes on Saturday, but generally proved his pipes remain powerful.
The crowd, comprised mainly of 40- and 50-somethings, hung on every word he sang or spoke. His closing statement -- "We will meet again" -- gave them hope this might not be the last time after all.
Classy Collins bids 'farewell' to Phoenix
Larry Rodgers and Michael
Senft
The Arizona Republic
Sept. 1, 2004
Veteran rocker Phil Collins brought out the big guns on Wednesday to bid his "first final farewell" to Phoenix.
Backed by a pulsating 10-piece band full of old friends and some new recruits, the talented singer-songwriter-drummer tore through a generous sample of the hit-filled catalog that has delighted millions, from baby boomers down to preteen Disney movie fans.
As he runs one more lap around the world before quitting the arena circuit, Collins' performances are reminding fans that this is a man who knows how to write a great pop hook.
He also made a point at America West Arena of reminding his followers that he considers himself a drummer first and foremost.
In a move that’s unusual in the world of rock concerts, Collins started his 24-song set by walking out, quietly bowing and then climbing behind a set of drums.
He immediately started soloing and demonstrating why he’s been one of the premier drummers in rock for three decades.
In a nod to the eternal groove that’s anchored his solo work for 23 years, Collins then traded beats with two fellow percussionists, longtime associate Chester Thompson and Cuban jazz great Luis Conte.
The trio was then joined by six singers, four horn players and other instrumentalists to launch into a crisp, strutting version of 1989's "Something Happened On the Way to Heaven."
The shining musicianship on that number set the tone for the up-tempo songs of the evening, which included "Don’t Lose My Number," "I Missed Again," "Two Hearts" and "Dance Into the Light."
Although the parade of radio hits left the near-sellout crowd satisfied, the pacing of the set felt like a rollercoaster at times. Collins, 53, often built up the onstage energy with upbeat numbers but quickly put a damper on things with slower ballads.
But many of those ballads, such the downbeat "Against All Odds" -- the night’s third offering -- are among the biggest songs in a Grammy-winning career that’s sold 80 million albums.
The British-born Collins even gave a rare nod to his former band, Genesis, with an updated arrangement of the 1980 hit "Misunderstanding." The song featured a soaring guitar solo by the British group’s touring guitarist, Daryl Stuermer. Also on board for this outing are two other familiar faces from Collins’ early solo days, bassist Leland Sklar and drummer Thompson. The chemistry between Collins and his three longtime friends was especially evident during a sublime rendition of the monster hit, "In The Air Tonight." As spotlights swept over the stage and audience, Collins stalked around the entire two-tiered set and delivered some of his best vocals of the night.
Then, in one of the concert’s most dramatic moments, yet another drum kit appeared high above the stage, just in time for Collins to leap in and bash out the trademark rhythm that took the song to another level.
Collins also touched upon his Disney soundtrack work with pleasant versions of "You’ll Be In My Heart" and "No Way Out," from "Tarzan" and "Brother Bear," respectively.
Late in the show, the audience -- which was surprisingly diverse age-wise -- was dancing in the aisles to some of Collins' more breezy hits, "Easy Lover," "Wear My Hat" and "Sussudio," which closed the main set.
A joyous version of another huge hit, "Take Me Home," sent Collins on his way to the next phase of his distinguished career.