♪ >> It's Genesis.

It's The Last Domino?

We are sort of revisiting our past, I think.

>> Genesis spent months touring arenas, then, when the warm weather hit, their fans followed them outdoors.

>> Everywhere they play, they take the audience by storm.

>> In the days of progressive rock, they were underground pioneers.

>> Genesis is one of the biggest, if not the biggest prog band ever.

>> Last year, they were voted number one live band in the world.

>> This is the only band I've ever been with.

We formed it when I was only 17.

♪ >> Anyone that is a real first-class performer, it's a drug that you can't get anywhere else.

>> ♪ All I need is a TV show ♪ >> The adoration, that connection with people, with an audience.

>> ♪ Down on my luck again ♪ ♪ Down on my luck again ♪ ♪ I can show you ♪ >> You got to have a lot of luck.

It goes all this stuff.

Some things just happened for us in a way.

>> ♪ I can show you ♪ >> ♪ I can show you ♪ >> ♪ Some of the people in my life ♪ ♪ It's driving me mad ♪ >> This could well be the last and probably is the last run at it.

You know what I mean?

An important moment for us and for anyone who likes the band.

>> ♪ I, I ♪ ♪ Get so lonely when she's not there ♪ ♪ I, I, I, I ♪ >> ♪ I would hate it if nobody got to see this because it's such an important thing to a lot of people, but, you know, what's the point in kind of dwelling about that because it's not in our control, really.

>> I remember that last show we did on the last, '07 tour, in the Hollywood Bowl, Phil was kind of signing off.

>> I didn't really want to be in a band anymore.

You know, at the end of the 2007 tour, I remember going on stage in Los Angeles, which, at that point, was going to be the last show, and, you know, telling Mike and Tony that I loved them in front -- you know, this is on stage.

And, um...

But that would be it, you know?

It kind of felt like I was more serious if I said it in front of people.

[ Chuckles ] But, you know, here we are.

So, this is very much a family group.

We've grown up together.

And I've never said it publicly or privately, but, Tony, I love you.

[ Cheers and applause ] Mike, I love you too.

And now, being British, we're going to carry on with things.

That's enough of that.

>> When Phil left the band, I thought maybe that's it.

I might retire.

You know, just forget it.

Do something else.

I was never sure I was going to be a musician all my life, but then what kept me going a little bit was switching to doing orchestral music, which actually seemed to go down pretty well even with some of the classical people, so I was inspired a bit to carry on already, and then, obviously, we had the next Genesis tour.

People suggested, we met, and we sort of talked about it.

There had been a lot of talk about doing something with Peter, and Peter was always hemming and hawing.

So in the end, we just said, "Look, why don't we just do the three of us?"

And that's why we did that last tour.

>> Hollywood Bowl.

Phil was kind of signing off, you know, on stage.

It was very -- He said, "I love Mike and Tony.

Love these guys," you know, and sort of signing off.

[ Chuckling ] Here we are now.

I'm not saying in 14, 17 years' time we'll be doing the same thing again.

That's when you really worry about it, I think.

♪ >> We did the the tour in 2007.

And it was kind of -- we kind of felt there was a bit of unfinished business still.

At that point, Phil was considering giving up because of his problems with his foot and his leg, and also he was having real problems just playing drums.

And Mike was quite involved with the Mechanics at the time as well.

I think we all felt at the same time that there was a bit of unfinished business.

So that was one thing.

And then secondly, you know, Phil got back on the road and became a singer as opposed to the drummer.

And he's on his solo career.

Mike joined him on the European tour with the Mechanics supporting him in stadium shows and joined Phil on stage during "Follow You, Follow Me."

That was kind of the key that unlocked the door.

All credit to Mike.

He didn't let go of that.

He kept pushing it and said, "We should really do something."

>> We've had a lot of famous success, you know what I mean, over the years to satisfy anyone, especially me.

So this is something -- It's what we do and we're good friends.

The other thing is we did well.

Other bands like Floyd have got a couple of huge albums -- "The Wall" and "Dark Side."

Fleetwood Mac got "Rumours."

You know, certain bands have classic albums which are always their sort of pinnacle.

We never had a classic album.

We always had a lot of albums.

All were different.

With the fans, especially in the U.K., the emotion and the passion for the band is very strong, so this will feel special.

>> We decided a year or two ago that we might do this.

And I don't know, really.

I mean, why not, in a way?

If people still want to see us, I'm very proud of all the music we've done, and it's a great opportunity to play it.

>> We got together in January of this year, 2020.

And it went very well.

The two weeks in New York that we did do, to me, even though we haven't been together since 2007, it doesn't feel like 12 years.

It feels like 12 months.

>> I suppose January was a tryout all-round, you know?

It was kind of weird because we were trying -- learning the songs to rehearse them to see if we were going to play them.

Put in the hours, and then not quite sure they were actually going to come to life afterwards.

But that was always part of the sort of approach.

>> I definitely think that the January rehearsals, as well as seeing if the band could do it, I think, for me, at least I felt like it was an audition thing.

With Chester Thompson, who was the longtime drummer of Genesis, you know, I had big shoes to fill.

But they never made it feel like that, which was good.

They kind of immediately made it feel like we're a group trying to fulfill this, and it was never kind of -- you know, I never felt like an outsider or something.

>> When it's required, he can sound like Phil.

And so, for some of those songs which have that just certain sort of Phil quality about them, particularly notice with "Duchess," "Domino," it just does feel very easy, very natural.

>> New York -- It was a good experience.

Coming out of that, everyone felt that we could do it, it could work.

So at that point, we said, "Okay, let's start planning."

Being in my nature, I had already planned possible tours and possible dates.

I put together dates in the U.K. for November, December of this year with a plan that we'd rehearse now and then go straight into the tour.

This was pre-COVID.

And then COVID came along in February, and, of course, that threw a complete grenade in any plans.

>> I thought we had to postpone, that we should just put it all back a year.

I thought that was the logical thing to do because give time for everything to settle out 'cause at the moment there's no way that you're gonna get 10,000 people in a hall sitting next to each other, chanting along to some song, you know?

>> I sat down with the guys and said, "Listen.

If we're going to do this, by the time we built the set, built the stage and everything, and rehearsed everything and rehearsed the content for the screens and the camera crew and everything else, are you willing to take the gamble?"

I said, "I'll put up my share.

Tony, Phil, and Mike, are you going to put up yours?"

It's a roll of the dice because we don't know when we're going to go out on the road, but we should do it.

So everyone voted, said, "Yes, okay, let's go for it."

God bless them.

And here we are.

>> I think if we hadn't done this now, we'd have probably gone, "Do you know what, guys?

It's just not meant to be."

Such a long gap, you know?

So I think will it ever happen?

Will COVID ever sort of be controllable?

And so it was quite a brave move to do, I think, but quite a nice move, you know.

It's sort of putting your flag in the ground, saying we're going to come out the end of this with a show and a tour we're sort of working to do.

>> I mean, I did say that I wouldn't do it anymore, you know?

But I also said I wouldn't go out anymore, and I did three years on and off, you know?

When I played the Albert Hall and Tony came and Mike came, they both came back, you know, very enthusiastic about Nic.

You know, kind of sowed the seeds a little bit as to "it'd be fun to do it again, wouldn't it?"

You know, I kind of took the bait and then I went away, you know, on and off for like 2 1/2 years.

This was looming.

>> Obviously we have to -- it's slightly different the way Phil is not able to do all the things he used to be able to do, but I think we felt that we could still put on a good show.

And it'd be fun to do it.

And last time we went out, we did two shows in England, which means only two shows in England the last 20 years or something, and with this lineup, not since 1992 or something.

So I thought that was wrong, so the idea of doing an English tour or British tour at least, anyhow, was an important thing to do.

>> Had a great career together over the years.

Had a lot of good music, a lot of fun.

And you've probably seen Phil, Tony, and I.

And, of course, Daryl and now Nic.

You know, there's a sort of -- there's a vibe.

Not too serious, taking the piss.

I think that's all part of the equation, really.

>> I'm going to buy you a folder box, I think.

>> For what?

>> The names on top.

>> What do you mean?

>> Well, every song is a card trick, you know?

>> I see.

[ Laughter ] >> Was this the one?

[ Laughter ] >> I did have one of those -- I have an iPad, you know?

>> We haven't got that much time, you know?

[ Intro to "That's All" plays ] ♪ >> ♪ Just as I thought it was going alright ♪ ♪ I find out I'm wrong when I thought I was right ♪ ♪ It's always the same ♪ ♪ It's just a shame ♪ ♪ That's all ♪ ♪ I could say day and you'd say night ♪ ♪ Tell me it's black when I know that it's white ♪ ♪ It's always the same ♪ ♪ It's just a shame ♪ ♪ That's all ♪ ♪ I could leave but I won't go ♪ ♪ Though my heart might tell me so ♪ ♪ I can't feel a thing from my head down to my toes ♪ ♪ So why does it always seem to be ♪ ♪ Me looking at you, you looking at me ♪ ♪ It's always the same ♪ ♪ It's just a shame ♪ ♪ That's all ♪ ♪ You're turning me on, turning me off ♪ ♪ Making me feel like I want too much ♪ ♪ Living with you's just putting me through it all of the time ♪ [ Music fades ] I haven't -- I mean, apart from since we've been here, I haven't sung for a few months, and it does get a bit out of shape.

These songs, you know, they're not all the lowest.

Some of them are up there.

♪ Heed their callers ♪ I do all the backing vocals -- 90% of them on the albums.

And live, we just never really bothered.

You know, I mean, Tony and Mike will be the first to agree that, you know, that's not their strong point.

It's great having Patrick and Daniel, a bit of reinforcements behind.

It certainly takes a weight off my shoulders 'cause it's not the kind of thing you can do this, you know?

You're talking about something you either got it or you haven't, you know, and then I'm a voice, you know?

You hit the ceiling, and today I hit the ceiling a lot.

But tomorrow will be better.

♪ Mild-mannered supermen ♪ ♪ Are held in kryptonite ♪ ♪ And the wise and foolish virgins giggle ♪ ♪ With their bodies glowing bright ♪ >> The bass a bit too loud, you think?

>> No.

I like it.

>> ♪ Through a door ♪ >> Left-hand bass, I like it.

>> A patch on us.

That's the -- >> I know what they're going to say.

>> I don't know why we -- >> We have to make a press announcement.

"Unfortunately --" >> Sorry?

>> I want a big press announcement.

"Unfortunately, we're very sad to say that Banks and Rutherford have retired from vocals."

>> A sad, sad moment.

>> Well, it will be sorely missed.

>> It will be.

>> It will be, yeah.

>> It will be.

>> I'm not sure "sorely" is right, though.

>> [ Laughs ] Sorely heard, yes.

>> Okay, thanks.

That's good.

It sounds very good.

Lovely.

Really nice.

>> Thank you.

>> It's been nice hearing it out with a P.A., you know what I mean, because that bass is -- >> I only worry a little bit because obviously that's all quite a lot quieter than we're actually hearing it.

It's that bottom end, you know.

I know you've got extra sort of "vrr-vrr" but I do find sometimes that disassociation almost without things being -- Collins needs to be careful with the sort of -- Good.

>> Good.

>> That's his way of saying "more keyboards."

>> That's what he means?

>> [ Laughs ] >> Yeah, okay.

>> But that sounds great.

Thanks a lot.

>> All the time.

>> You've got it.

You'll sort it out.

[ "Home by the Sea" plays ] >> Tony and myself and Phil go back a long way, myself and Tony even further, you know?

Put us in a room and there's a bit of banter.

We have so many references to the past.

You say a certain sentence that only Phil and Tony will get.

>> These people have been part of my life for 50 years, you know?

We all know each other so well.

Most of the time we do a lot of laughing.

It's a democracy as long as we agree with Tony.

[ Laughs ] >> Well, it's probably changed a little bit over the years, really.

I mean, I was always the most, um, difficult.

[ Chuckles ] In every sense, really.

I liked the music to be as challenging as we could get it, really.

In the early years, that was easy because particularly with Peter and with Steve, they kind of wanted it challenging too, and you had 26-minute songs up and ready.

Always tried to go for things almost on a different -- I liked to try a different chord sequence, wanted to try a different way of doing things.

I liked the idea of putting a quiet bit against a loud bit and an unusual sort of, you know, sequencing like that, and that very much came from me.

I think it's sort of the idea of the complexity, which some people hate and some people like.

It's what Genesis is all about.

>> Tony's mellowed.

I sense he's enjoying this even more so because it's something he thinks hasn't been played live for a long time and he thinks that this is really -- going to appreciate his journey.

>> Mike quite likes making decisions, you know?

So if I agree with it, then I'll just go with it, but if I disagree with it, obviously I will say something.

>> Tony's very much more open now to trying it.

I'll say, "Give it a try," and he'll try anything.

That's good.

He'll pull a face, you know?

When I say "try," he'll pull a face, but actually he'll always -- he'll try it now much more than he used to.

Probably me too, I think.

We'll come back to this.

>> I had a thought last night.

>> Oh.

Steve, just take this.

It's heavy.

>> Now, you know where some of these thoughts lead, but...

The acoustics stuff.

>> What?

>> The acoustic.

>> Yeah?

>> I got an ear in still, man.

I'll take it out.

>> Well, take it out!

>> Just for you, I'll take it out.

Oh, it's so painful.

>> Oh.

[ Laughs ] You know, like my dreams.

But starting that section with "That's All."

>> Yeah.

>> Which everybody loves, you know?

And at the end of it, out of... [ Vocalizing ] And everyone says, "What...is this?"

And this affects you more than anybody else.

[ Laughs ] >> What do I have to do?

>> Into what?

Into "The Lamb" or something else?

>> No, into "The Lamb."

>> Oh, yeah, yeah.

>> Start with the drums and just come in with the chords.

>> Yeah, but pad chords.

I mean, I was thinking, you know, not -- take this in the way it's meant rather than the way it might sound -- you know, it's like in the air pads, where there's no edge, it's just ethereal, you know?

[ Laughs ] >> Yeah.

>> Try it.

Try it.

You never know.

Try it.

>> Everybody has their own position, and I think -- Mike and Tony are basically -- or myself -- are just standing there, playing, you know, but Phil is kind of like the entertainer, you know?

The way he speaks on the mike.

Now, before, when he was able to move around, he was running all over the stage.

He was the entertainer in the band.

We were just [Chuckles] the musicians.

Not that he's not a musician, because he's a fantastic musician.

But he's the actor on stage, you know, because he grew up in an acting family, and he was an actor when he was young, and he's been in a few films.

He knows how to grab an audience.

You don't just need great lights and sound.

You need someone that really relates to the audience, and I think the average person can relate to Phil Collins.

>> Yeah, I mean, there's nothing like the applause of an audience, you know?

When I was 14, I was in "Oliver!"

on stage, was the Artful Dodger every night for sort of seven or eight months.

There's nothing like a Saturday night in a theater.

And you can hear the orchestra tuning up, and then people murmuring.

Suddenly, the curtain goes up and it all goes quiet.

There is no substitute for that.

[ Introduction to "Mama" plays ] ♪ ♪ ♪ ♪ ♪ ♪ >> ♪ I can see you, Mama ♪ ♪ But I can hardly wait ♪ ♪ Ooh, to touch and to feel you, Mama ♪ ♪ Oh, I just can't keep away ♪ ♪ In the heat and the steam of the city ♪ ♪ Oh, it's got me running ♪ ♪ Can't brake ♪ ♪ So say you'll help me, Mama ♪ ♪ 'Cause it's getting so hard ♪ ♪ Ohhhh ♪ ♪ Now, I can't keep you, Mama ♪ ♪ But I know you're always there ♪ ♪ You listen ♪ ♪ You teach me, Mama ♪ ♪ And I know inside you care ♪ ♪ So get down, down here beside me ♪ ♪ Oh-oh-oh, you ain't going nowhere ♪ ♪ No, I won't hurt you, Mama ♪ ♪ But it's getting so hard ♪ ♪ Ohhhh ♪ Ha-ha-ha!

This period that we're in right now, you got to go through it, you know.

You got to rehearse every day because it gives the lighting people, the sound people, it's all got to be done, and it's all got to be as seamless as it can possibly be.

You know, and sometimes I just, if I could just walk off and go home, I would do, you know.

I mean, when the voice -- when you're struggling with the voice, it is...

It's very difficult.

♪ ♪ Can't you see ♪ >> Phil -- I miss him drumming.

That's his choice, really.

If he wanted to, I'm sure he could put the hours in to try and let it off, but it has to come from him.

I realize that, actually.

I kind of pushed him early on to try and play the drums.

And that's not the point.

It has to come from him.

If he goes home, I think, and sits down for four or five weeks, plays 15 minutes a day, and half an hour a day, you know, he could get the muscles working again.

But you have to want to do it.

>> ♪ Can't you feel my heart?

♪ ♪ Oh, oh ♪ ♪ Now listen to me, Mama, Mama, Mama ♪ >> I think there's a momentum thing, but I also think that's parts of it with stuff that, you know, he's been going through in his personal life.

It definitely has helped.

He can kind of go a bit at a time and really commit himself and then also kind of have some time off.

Obviously I think it's difficult for him because when he's used to playing some of these songs where he's the one playing the drums and the fact that you're not able to do that for now I'm sure is difficult.

>> ♪ It's hot, too hot for me, Mama ♪ ♪ But I know, hardly wait ♪ ♪ My eyes, they're burning, Mama ♪ ♪ And I can feel my body shake ♪ ♪ Don't stop ♪ ♪ Don't stop me, Mama ♪ ♪ Oh, make the pain ♪ ♪ Make it go away ♪ ♪ No, I won't hurt you, Mama ♪ ♪ But it's getting so hard ♪ ♪ Ohhhh ♪ ♪ Don't go ♪ ♪ ♪ No, no, no, don't go ♪ ♪ ♪ Don't go ♪ ♪ No, no, no, don't go ♪ ♪ Don't go, don't go ♪ ♪ Don't go ♪ ♪ No, no, no, don't go ♪ ♪ ♪ Don't go ♪ ♪ No, no, no, don't go ♪ ♪ Don't go, don't go ♪ ♪ 'Cause I won't hurt you, Mama ♪ ♪ But it's getting so hard ♪ ♪ Ohhhh ♪ ♪ ♪ ♪ >> We were very un-visual at the beginning.

I don't think we've ever got a chance.

We were playing these clubs, you know, these hot, sweaty clubs where people just sort of -- You know, we had -- Lighting was done by these two guys, Alpha Centauri, who had these sort of -- you know, all the slides.

And it was kind of -- You couldn't really see.

It was dark.

You couldn't see the crew, couldn't see anything.

But it was sweaty and hot and it was noisy and it was great, you know?

But you went as sort of personality, only sensorily.

And there was a...

The progressive thing suited us totally.

People got used to the idea of people trying to do difficult things and there was an audience out there for that.

And there's still an audience out there for that now.

>> Genesis' music and sort of sound is quite dark and moody and powerful.

So it lends itself to visual interpretation.

It's different for every artist, how much involvement they have with what it looks like.

Genesis are very involved and always have been, but the difference that makes our life easier is that they're very aware of the craft of lighting and video presentation as much as they are in the art of it.

♪ >> What Tony and I probably can add is we can look at it and sort of go, "That doesn't look right for the moment."

You know what I mean?

"I don't know what it is.

I don't know why, but it doesn't really suit the music."

And Patrick listens to our concept, I think.

Basically, if something's right, no one says, "I'm not sure."

You know what I mean?

When it's being questioned, then you haven't got it right.

>> I mean, my only thought was when it went out after the middle section and it goes back to the verse again, you kept with the same setup, the big screen with the things.

I think it needs to change at that point.

Mike and I are very much -- You know, we're very involved in that all the time.

So that's a very important thing to us.

When Peter was with the band, obviously he was a very strong feature of that.

And after he left, we sort of carried that on, I think.

We brought in the very light which has become kind of the industry standard now in one form or another.

And, you know, we've always been the first group, I think, to use so many jumbotrons within a show rather than just showing the people playing.

So, we've always loved that kind of stuff.

♪ >> This is a piece of theater, these rock shows, you know?

They're two hours long, and you take people on some sort of journey.

The performers act themselves.

They don't pretend to be anyone that they're not.

♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ >> I mean, in the early days, obviously you didn't need to do massive rehearsal at the time because you'd been playing the week before, you know?

I mean, the first -- You know, up to about sort of '78, you know, we'd done about sort of eight years.

We'd been touring constantly, you know, really, I mean, 250 gigs a year.

I don't know, really.

I mean, obviously, there was a little break, sort of hiatus after Pete left and stuff.

But most of the time -- So, doing so much stuff, you never needed it.

And so in terms of the show, that sort of like progressed slowly.

Then you might have a new tour where you'd reintroduce some new element.

But the music didn't tend to need that much rehearsal because you had to rehearse the new songs.

And I think now you -- And we're starting from scratch all the time, and you're thinking about which songs you're gonna do and which you can get rid of.

[ Chuckles ] There's no new music in this set, which I think for most of the audience, actually, is something of a relief, actually.

[ Laughs ] [ "Land of Confusion" plays ] ♪ ♪ ♪ >> ♪ Well, I must've dreamed a thousand dreams ♪ ♪ I been haunted by a million screams ♪ ♪ But I can hear the marching feet ♪ ♪ They're moving into the street ♪ ♪ Now, did you read the news today?

♪ ♪ They say the danger's gone away ♪ ♪ But I can see the fires still alight ♪ ♪ And they're burning into the night ♪ ♪ There's too many men ♪ ♪ Too many people ♪ ♪ Making too many problems ♪ ♪ And not much love to go 'round ♪ ♪ Can't you see this is a land of confusion?

♪ ♪ This is the world we live in ♪ >> ♪ Oh-oh-oh ♪ >> ♪ And these are the hands we're given ♪ >> ♪ Oh-oh-oh ♪ >> ♪ Use them and let's start trying ♪ >> I think "Land of Confusion" will always be relevant, actually, no trouble, but at the moment it's a particularly peculiar time, really, with all the pandemic stuff and everything and the way people behave and stuff and crazy politicians around the world, you know?

Naming no names.

>> ♪ Superman, where are you now ♪ ♪ When everything's gone wrong somehow?

♪ ♪ The men of steel and men of power ♪ ♪ Are losing control by the hour ♪ ♪ This is the time ♪ ♪ This is the place ♪ ♪ And we look for the future ♪ >> I remember saying to Patrick early on, "Look, this is the world we live in."

You know?

I said, "Then let's try and make it more contemporary."

These words apply to where we are right now.

>> ♪ Now this is the world we live in ♪ >> ♪ Oh-oh-oh ♪ >> ♪ And these are the hands we're given ♪ >> ♪ Oh-oh-oh ♪ >> ♪ Use them and let's start trying ♪ >> ♪ Oh-oh-oh ♪ >> ♪ To make this a place worth living in ♪ ♪ >> When we did the original "Land of Confusion" video, it was sort of making fun of Reagan and stuff, actually.

Now it looks like a beacon of light actually when you look back.

But anyhow that's nothing, neither here nor there.

But it was a humorous thing when the whole thing was sort of funny and a bit lighthearted, we weren't taking anything too seriously, whereas this is a much more serious video, a serious kind of attempt at interpreting the lyric, which I think are some of Mike's best lyrics, actually.

>> ♪ I remember long ago ♪ ♪ When the sun was shining ♪ ♪ And the stars were bright ♪ ♪ All through the night ♪ ♪ And the sound of your laughter ♪ ♪ As I held you tight ♪ ♪ So long ago ♪ ♪ >> ♪ Oh-oh-oh ♪ ♪ Oh-oh-oh ♪ >> ♪ Oh-oh-oh ♪ ♪ Oh-oh-oh-ohh ♪ >> These guys happened to have taken some pictures when London was in lockdown, so there's nothing on the streets.

So, we kind of used that and then worked from that with other ideas of, you know, the loo rolls and the beach balls to represent the past in a way.

And then there was the marching men, you know, with all of the masks on, which I thought was a great image.

>> ♪ There's too many men ♪ ♪ Too many people ♪ ♪ Making too many problems ♪ ♪ And not much love to go 'round ♪ ♪ Can't you see this is a land of confusion?

♪ ♪ Now this is the world we live in ♪ >> ♪ Oh-oh-oh ♪ >> ♪ These are the hands we're given ♪ >> ♪ Oh-oh-oh ♪ >> ♪ Use them and let's start trying ♪ >> ♪ Oh-oh-oh ♪ >> ♪ To make this a place worth living in ♪ ♪ This is the world we live in ♪ >> ♪ Oh-oh-oh ♪ >> ♪ And these are the hands we're given ♪ >> ♪ Oh-oh-oh ♪ >> ♪ Stand up and let's start showing ♪ >> ♪ Oh-oh-oh ♪ >> ♪ Just where our lives are going to ♪ ♪ [ Song ends ] ♪ >> Well, you know, to be quite honest, I mean, you know, if someone said, "It's always gonna be like this, and there will be no more touring," I'd be fine with that.

[ Laughs ] It's a bizarre sort of situation to be in, all dressed up with nowhere to go, really.

And I've had a harrowing few months, as well, you know, off the stage as well as on it, so... ♪ Yeah.

Yeah.

Enough said.

When things do change and we can go out and do some shows, we're gonna have to spend 10 days probably somewhere, you know, to get the voice in shape, to remind everybody what they're supposed to be doing.

None of this we've ever sort of lived through before, which is a shame that it's like that now, you know?

I mean, there's an awful lot of people that are hurting.

Turn on the news, and you've got restaurants closing and you've got different areas of life that are being affected.

And this is really just entertainment, but it's -- You know, there's a lot of people out there that are hurting, you know, with the financial squeeze.

Hopefully we'll be able to pull it together to do shows, but, I mean, we could -- you know, we could be sitting here for another nine months to a year waiting for this -- either a vaccine or -- It's a shame, really.

♪ >> It's important to call out the road crew.

We've had the same guys for a long time.

You know, these are all part of the equation, and seeing them all back together is a nice feeling for me, you know?

I sort of feel comfortable around them and flight cases.

I feel at home on them.

♪ The last tour was sort of virgin ideas, whereas this time round, they've developed the ideas and made it better.

♪ >> We started off saying, "Well, it's pretty straightforward.

We have the video screen and we don't show the lights till the very last number and we turn it all around and just blow people's minds."

But I think it was Mike who said, when we first saw this -- And right at the beginning of rehearsals, we were able to go through each number and say, "This is roughly how we see it."

And it was Mike who said, "I think you're missing a trick.

I don't think you have to hold back on those big lights and panels.

I'm sure there's ways that you can reveal a little bit of them before you get to the end."

And that was probably the biggest development.

♪ >> You know, it reflects what we are, you know?

We've always had control over it.

We try to be innovative as well as being tasteful.

And it's very important to make everything fit with the show.

And I've seen light shows where, you know, the band obviously has no interest in what's being done for them.

And it's completely ridiculous.

And you start, right from word one, it's all flashing and everything's happening.

We try to build and take it down and stuff, and the people who work with us understand that.

And it's very -- It's got to really enhance the song.

You know, you're really trying to get a mood for a song.

You have colors.

You go for intensity.

You go for flash bang and whatever the song requires.

>> ♪ We held each other near that night ♪ ♪ Will it, will it last forever?

♪ ♪ Forever ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ Blood on the windows ♪ ♪ Millions of ordinary people are there ♪ ♪ They gaze at the scenery ♪ ♪ They act as if it is perfectly clear ♪ ♪ Take a look at the mountains ♪ ♪ Take a look at that beautiful river of blood ♪ ♪ ♪ The liquid surrounds me ♪ ♪ I fight to rise from this river of hell ♪ ♪ I stare round about me ♪ ♪ Children are swimming, playing with boats ♪ ♪ Their features are changing ♪ ♪ Their bodies dissolve, and I am alone ♪ ♪ I am alone ♪ ♪ ♪ Now see what you've gone and done ♪ ♪ ♪ Now see what you've gone and done ♪ ♪ >> "Domino" is a journey, you know?

It's the most dramatic piece of music, and it has these huge highs and huge lows.

And it's a fairly obvious conceit that we interpret that using dominoes.

Treatment Studios, who are the video company, made a lot of the content for us.

They've taken us on this amazing journey, and for that we don't need to keep putting pictures of keyboards or guitars or even singers.

We can allow that story to be told simply on the big screen.

♪ >> ♪ Well, you never did see such a terrible thing ♪ ♪ That was seen last night on the TV ♪ ♪ Maybe if we're lucky, they will show it again ♪ ♪ Such a terrible thing to see ♪ ♪ Oh, ohh ♪ ♪ ♪ You can do if you're next in line ♪ ♪ ♪ You've got to go, domino ♪ ♪ Now I'm one with the living, and I'm feeling just fine ♪ ♪ I know what I gotta do ♪ ♪ Play the game of happiness and never let on ♪ ♪ That it only lives on in a song ♪ ♪ Oh, ohh ♪ ♪ There's nothing you can do if you're next in line ♪ ♪ ♪ You've got to go, domino ♪ ♪ Do you know what you have done?

♪ ♪ Do you know what you've begun?

♪ ♪ ♪ >> Dominoes are used in various ways, particularly in the video, as buildings, which is one thing -- I originally sort of set the thing in Beirut when I was thinking about it, and Beirut has buildings that look a bit like dominoes, I suppose.

And the other thing is they do look like, in this video, a bit like tombstones at times, as well.

And so the song is all about Beirut at the time, which was being bombed and people were being killed and the effects of what one person was doing somewhere, like an American president making a decision which has this effect on some poor chap somewhere, and he was -- you know, he was killed or his wife was killed or whatever.

And that was what it was all about, really.

So, the tombstones was another factor.

So, to call it just The Last Domino would have been a bit kind of morbid.

With the question mark, a bit more lightweight, and, you know, you can interpret it how you like.

♪ >> ♪ There's nothing you can do if you're the next in line ♪ ♪ ♪ You've got to go, domino ♪ ♪ Do you know what you have done?

♪ ♪ Do you know what you've begun?

♪ ♪ 'Cause there's nothing ♪ ♪ Nothing you can do if you're the next in line ♪ ♪ ♪ You're next ♪ ♪ You're next ♪ ♪ You're next ♪ ♪ You're the next in line ♪ ♪ The next in line ♪ ♪ The next in line ♪ ♪ The next in line ♪ ♪ The next in line ♪ ♪ The next in line ♪ ♪ Domino ♪ ♪ ♪ Nothing ♪ ♪ Nothing ♪ ♪ Nothing you can do if you're the next in line ♪ ♪ And you got to go ♪ ♪ You got to go ♪ ♪ Domino ♪ ♪ You go to go ♪ ♪ ♪ 'Cause you got to go ♪ ♪ ♪ Got to go, domino ♪ ♪ [ Song ends ] >> You got a lot of luck.

That's the main ingredient of all this stuff.

You know, some things just happened for us, in a way.

You know, it's amazing.

I think -- and everyone will tell you -- that luck is a crucial thing in this.

You know, at the right moment, you do the right thing, and you just always can't put your finger on where things went.

But it was a very slow build for us.

You know, it was 10 years before we had our first hit single.

That's worth remember, that, and we'd released about -- well, quite a few before that.

And that was a very significant moment, you know, I think, 'cause although the albums were doing well, it meant you were sort of an underground group, which we are very happy to be, but I think you can only live that long as an underground group.

To be a group that lasts for sort of 30, 40, 50 years, you've got to have hits.

[ "Throwing It All Away" plays ] >> We're gonna have a show next week -- end of this week we're excited about.

So we want to do it.

If we have to wait a bit longer than planned, we'll wait, whereas if we hadn't done it, I think we'd have just gone off the boil, you know?

♪ >> [ Vocalizing ] >> [ Vocalizing ] ♪ [ Vocalizing continues ] ♪ [ Vocalizing continues ] ♪ [ Vocalizing continues ] ♪ >> Oh, I think probably this will be putting it to bed, you know, the last time.

When it's good, it's great fun, and the audience always seem to come away having enjoyed it.

So, really, it's a question of going out there and doing what you do with your life, you know?

I mean, it's -- I'm 70 in January.

And I've been in this band since I was 19, you know, since Nic's age.

>> Whenever my dad, you know, was feeling a bit down and we'd go and play a show, I would see his mood light up because when you have 20,000 people in an arena who are all there because they absolutely love you, it's a feeling that I think is so important for musicians to kind of realize that what they do and what they did still matters.

>> ♪ And you know I know, baby ♪ ♪ That I don't wanna go ♪ >> The road itself is kind of -- a sort of a nostalgia feeling for it.

When you're actually doing it, you're not sure how much you're enjoying it, but when you're not doing it, you kind of have a memory of it, you know, which is -- And when I go to other people's shows and I go backstage, I get that sort of feeling, you know, "I'd like to be back doing it again."

The instant reaction to things that you've written is very exciting, I think.

>> ♪ I watch the world go round and round ♪ ♪ And see mine turning upside down ♪ [ Vocalizing ] ♪ ♪ Ohh, ohh, yeah ♪ [ Vocalizing ] ♪ ♪ Ohh, ohh, yeah ♪ ♪ Now who will light up the darkness?

♪ ♪ And who will hold your hand?

♪ ♪ Who will find you the answers when you don't understand?

♪ >> There is still this connection that goes back so long.

And they enjoy each other's company, and what else are we gonna do in our lives if we don't do this?

Do gardening?

>> ♪ Someday when you're sorry ♪ ♪ Someday you'll be free ♪ >> The songs we've done, everything is -- people's lives tie into certain songs.

They know that's that song when they married someone, fell out with somebody.

They tie into their life.

And so I think it's a connection for them, I think.

>> ♪ Just calling out to ♪ ♪ ♪ Throwing it all away ♪ ♪ ♪ Yeah, nothing that I can say ♪ ♪ Yeah, yeah ♪ >> This career has given me a fantastic life, and I kind of -- in a way I perhaps didn't originally think it would.

It was a sort of hobby, and then it became -- took over, really.

♪ >> I mean, everything we've done up until now, it's been such incredibly good fun and appreciated by me, the fans, the music, our togetherness.

So anything now is a plus.

That's what I'm good with.

>> [ Vocalizing ] ♪ [ Vocalizing continues ] ♪ >> I think they should thank me for putting up with them and I should thank them for putting up with me.

>> [ Vocalizing ] ♪ [ Vocalizing continues ] ♪ ♪ Need I say I love you?

♪ ♪ Need I say I care?

♪ >> I don't know what a perfect show would be, but I thought that -- Our last show was 13 years ago.

But probably the perfect show would be to end here, where the guys are from.

You got to end on a high note.

And this might be the perfect last tour.

♪ I don't ♪ ♪ I don't wanna go ♪ ♪ Oh, whoa ♪ ♪ Oh, oh, ohh ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪