Live Review: Phil Collins

Evoke his name and you may get equal parts derision and admiration, but there's no denying the longevity of the music of Phil Collins. Judging by the size of the crowd at the first of three Sydney arena ‘Not Dead Yet' tour shows, the admiration side is out to quash the doubters.

If not prepared, you would be excused for being a bit shocked at Collins' use of a cane and slow walk to the stage. Following a severe fall, back surgery has taken its toll on the Englishman, just over a week out from his 68th birthday. "Getting old sucks," he would later declare.

Against All Odds would then seem a suitable song to start the night on. Another Day In Paradise saw him warming slowly into the groove, along with most of the crowd. I Missed Again saw even more movement, along with a killer sax solo. In fact, the band were a vital party of the ingredients, not only for their top-shelf musicianship, but for taking the attention from the seated Collins and giving us plenty else to focus on.

A couple of Genesis songs kept the mood relatively low-key, but included a delicious version of Follow You Follow Me. A decidedly rare rendition of Inside Out (reportedly not played live since 1990 before this Australian tour) came next, followed by a heart-warming duet of Separate Lives with the amazing Bridgette Bryant which brought a spontaneous tear to the eye.

The band, some having played with Collins for over 40 years, were top notch. The fact that the father of five's 17-year-old son, Nic, has joined the tour to play drums was a lovely touch, as was the duet between the two of them of Nic's favourite song, You Know What I Mean. The apple certainly doesn’t fall far from the drum kit, as proven by a stonking drum solo from the youngster, followed by father, son and percussionist, Richie Garcia, taking to the cajóns for a mini drum circle.

The remainder of the set was hit after hit. In the Air Tonight brought every air drummer out in the open and Collins to his feet for one of only a couple of times all night. You Can't Hurry Love was bright and fun with the band definitely sparking joy in us all. The highlight of the evening, Invisible Touch, a killer track from the Genesis days, was tight, punchy and bloody awesome, especially when Collins took his feet to add a ‘fuck’ to the lyrics for effect.

His voice, something that could be criticised by some, was – on the whole – fantastic. A few key changes here, a few octaves lower there and he avoided straining his voice, but that’s understandable for someone on a 11-date tour over just 19 days. Aside from the fact that he was seated most of the night (which doesn’t lend itself to the best vocal posture), the performance was huge. The horn section danced, the backing singers grooved and main set finale Sussudio was a cacophony of sound, confetti and cheering from a now up-and-dancing Qudos Bank Arena.

It seemed almost cruel to have Collins leave the stage before slowly returning for the encore, but Take Me Home was a delightful way to end a night that showed no matter how much your body might fail you, if you can still sing, you can hold a crowd in the palm of your hand.