I recently experienced a surprising and unexpected musical performance, one that begged more questions than it answered. But before I get to the existential quandary that performance imposed on me, I should back up and talk a bit about what I saw.
There’s a tribute band called The Musical Box. They have devoted themselves to Peter Gabriel-era Genesis. It’s like devoting your career as a film historian to the movies of Marlon Brando made prior to the death of James Dean. I need to get on record immediately with the admission that I’ve thought tribute acts, as a category, were silly, like hunting for Mexican Diet Coke, as if that were a thing. Look, I was in plenty of bands that did a more than adequate job of playing other peoples’ material, but the idea of going to see a bunch of guys perform nothing but songs from one band seemed weak at some elemental level. While I can’t say exactly why, the more cynical bones in my body thought it was a special lack of imagination. Let me be clear, I thought of tribute bands as a kind of glorified cover band, a self-absorbed frat party act.
I’m fortunate that I have friends who can point out when I’m being a pinhead and ought to remain more open-minded. I’m also fortunate that these same friends are easily as devoted to the early Genesis material as I am and had actually seen The Musical Box, so they could actively advocate for the superlative quality of their performances.
So on a recent Sunday night my wife, friends and I went to see these five Quebecois musicians perform a selection of songs from Genesis’ 1972 album “Foxtrot.” In addition to those songs they did three songs from earlier albums that appear on the album “Genesis Live.” This is stuff that serves as a textbook example for Progressive Rock, capital P, capital R, for better or worse, depending on your personal view. I know plenty of people who detest this stuff. It appeals to me on a multitude of levels, from the visceral fun of the music, to the technical dexterity required to play it, to the themes contained within the lyrics, right down to the production values and even the cover art. Early Genesis was, for me, the whole package.
What unfolded on stage that night was an event so unlikely as to be surreal. It was very nearly an elaborate joke. The performance wasn’t just an accurate performance of some material that was terribly difficult to perform correctly (I can report this from personal experience), it was a note-for-note replication of the performances contained on those two albums. Not only was every note replicated, they were played on the same period instruments (save the famously wonky mellotron), with the same tone, dynamics and demeanor. Hell, they wore the same clothing and the costumes that Peter Gabriel made to use during those performances. Peter Gabriel actually gave them his old costumes. And the between-song banter and song introductions? Nailed ’em.
So thoroughly did these guys capture the essence of Genesis that there were times when as I watched them, I simply forgot that I was watching an ensemble other than Genesis. I’d blink my eyes and remember that the vocalist’s first language was French. Interviews with the members of Genesis reveal long-simmering tensions about the challenge of performing their material correctly night after night. The performance by The Musical Box was flawless, and that points to a Ripley’s Believe-It-Or-Not! moment: those guys are actually better than the original.
Not only did Peter Gabriel give them his old costumes, their web site features testimonials by the members of Genesis on just how good they are. Gabriel says he took his kids to see them so they “could see what their father did back then.” But Phil Collins’ testimonial is perhaps the most effective. Collins says, “They are not a tribute band, they are taking a period and faithfully reproducing it in the same way that someone would do a theater production.”
As I walked out I told my wife that what we’d just seen was, from a musical standpoint, the best performance I’d seen in years. It wasn’t just that what they played was technically accurate; rather, what they did honored the original intent of the music. It reminded me of a recording I have of Tchaikovsky’s 1812 Overture. The conductor worked with the record label to go back through Tchaikovsky’s original score and look at the parts for the cannons at the end of the piece. They noted the rhythms and dynamic markings and then went out to a field and had someone fire period-correct cannons that they recorded and integrated into the final recording. The first time the final mix of that recording was playing in the studio was the first time in history that Tchaikovsky’s masterpiece was heard as it was intended. How’s that for mind-blowing?
The Musical Box’s performance came from a place of such deep respect that they could be called a tribute band in the truest sense of the word. Still, I had trouble articulating to her and to myself why I’d found the performance so rousing. A religious experience this was not, but it reached something in me that almost no other musical performance I’ve seen in the last 20 years has managed.
As I struggled with the question of why I was so wowed, I considered how I’ve passed on going to see the Rolling Stones (and a number of other aging acts) over the last 20, maybe even 30 years; it was for exactly the opposite reason. If you watch a live performance by the Stones, you see that the underlying fire to their music is largely gone. Mick Jagger’s voice is more gravel than tone and the loose rhythm to Keith Richards’ guitar work, which was once stylish seems now just to be sloppy. There’s little left to them other than Jaggers’ swagger, which is something to marvel at, but isn’t enough to command me to spend upwards of $100 for an opportunity to sit in the next area code.
That—now that—begs the question of just what we are looking for in a live performance. I’ve realized that it’s not enough for me to be in the same room with performers who were once great. I want to hear music. Shouldn’t that really be the first priority? It’s the music that got me interested in the first place. If you play great and can shake your ass, then great, but I’m not showing up just to see you shake your ass. If your priority is the dancing there’s this thing called ballet, or you can go see a tango recital.
And so I’m back around to why that performance was so affecting that four days later another friend and I drove 100 miles to go see these guys again. Same bunch of songs. No matter. At root, it was a chance to witness someone being very, very good at something, something that was damn difficult. Nothing against AC/DC, but “Back in Black” this ain’t. This material is difficult the way quantum mechanics is difficult. I also recognized a special regard for the audience. Anyone going to this trouble really cares about the people buying tickets, really wants them to have a memorable experience. Given the number of acts I’ve seen that barely phoned in their performances, this is a kind of commerce the world needs more of.
There was no obvious need for me to relate my reaction to those performances back to larger issues in my life, but I’m much too introspective to let something like this go. Within the collective urge by these guys to honor Genesis’ music I see a parallel in the bike industry. I find it in the people who toil somewhat anonymously in building for a name like Waterford or Seven, cutting fabric for Assos and Castelli. Those names are an implicit mark of quality and demand a level of precision difficult to achieve without a commensurate passion for the work itself. Does anything really need to be that difficult, that precise? No, but excellence is rarely found without bucketfuls of passion. Being witness to such an intense replication of that music was first-kiss heady. I’m awed to say that these play-actors performed with such faithfulness that my connection to that material is stronger than ever. I came to appreciate nuances—playfulness and irony—of songs I’d missed by only listening to the albums.
All-in is a favorite descriptor of mine. It speaks to a commitment that isn’t possible without an underlying fire. Those five guys reminded me why I’ve been writing about bicycles for 20 years. Quality matters. It always matters.