Reliving 1973: The Musical Box brings “Genesis live” to Brussels (31.03.25)

52 years after the legendary Genesis Live tour, The Musical Box presented a meticulously reconstructed version of this iconic performance. The band, internationally acclaimed for their historical precision, brought the concert back to life in all its facets. From the setlist and stage design to the original visuals and instruments of that era—everything was recreated with an almost obsessive attention to detail. The show, held at the Koninklijk Circus in Brussels, attracted around 900 visitors, mainly progressive rock enthusiasts with fond memories of early Genesis. It was an evening of pure nostalgia and musical craftsmanship, honoring the essence of Genesis' golden years.

The stage exuded the atmosphere of the early ’70s: heavy curtains, strategically placed lighting, and a minimalist yet effective four-color scheme (red, green, blue  and yellow) created an intimate and mysterious ambiance. The band used authentic analog instruments from that era, which not only produced an authentic sound but also evoked a true sense of time travel. However, this choice also presented challenges: during the intro of the opening number ‘Watcher of the Skies’, the fragile mellotron malfunctioned, forcing The Musical Box to restart with a digital replacement.

The setlist followed the structure of the original Genesis Live tour from 1973, drawing from the albums Nursery Cryme and Foxtrot, supplemented by rarities that Genesis themselves never performed live again. At the time of this tour, Selling England by the Pound had yet to be released, meaning some later masterpieces were absent. Compared to the Foxtrottour, this approach was more straightforward and direct, with less theatrical excess and a greater emphasis on musical execution.

From the very first notes, The Musical Box captured the essence of Genesis' music. ‘Watcher of the Skies’ opened the night with an imposing mellotron intro, despite the technical setback. ‘The Musical Box’ struck a perfect balance between melancholy and explosive climaxes. ‘The Fountain of Salmacis’ sounded epic and immersive, with beautiful guitar textures. ‘Get ‘em Out by Friday’ showcased Denis Gagné’s storytelling prowess, flawlessly channeling Peter Gabriel’s voice and expression. ‘Supper’s Ready’, the absolute highlight of the set, featured the signature costume changes, including the iconic flower headdress. ‘The Return of the Giant Hogweed’ delivered an electrifying finale with impressive guitar and keyboard work. ‘The Knife’ closed the regular set in true Genesis fashion: raw, dynamic and captivating. Unlike the original tour, three additional songs were performed: ‘Twilight Alehouse’, ‘Can-Utility and the Coastliners’ and ‘Seven Stones’, an extra treat for the devoted fans.

What sets The Musical Box apart from other tribute bands is not just their technical precision but also their profound respect for the original material. Denis Gagné masterfully replicated Peter Gabriel’s vocals and theatrical presence while Sébastien Lamothe flawlessly delivered Mike Rutherford’s complex bass lines. Keyboardist Ian Benhamou (Tony Banks), guitarist François Gagnon (Steve Hackett) and drummer Marc Laflamme (Phil Collins) performed their parts with a level of perfection that was both impressive and deeply moving. Without them, this music could never have sounded so authentic.

Though The Musical Box is ‘just’ a cover band, they have established themselves as the absolute pinnacle of their genre with the endorsement and support of the original Genesis members. Genesis themselves provided access to original visuals and equipment, making this show not just a tribute but a historically accurate reconstruction of a unique moment in music history.

The Musical Box began as a tribute to their musical heroes but has since evolved into a phenomenon that preserves the essence of Genesis for new generations. Their performance in Brussels was not merely a concert but a journey back in time—an opportunity to relive a lost chapter of musical history.

A special thanks to Ela Williamson for her invaluable help with this review.