Switzerland, April 2007: The Awakening of a Giant – Rehearsing for the “Turn It On Again” Tour
In the world of progressive rock and stadium pop, few announcements have ever carried the weight of the one made in late 2006: Genesis was returning. After a fifteen-year hiatus involving the “classic” trio lineup, Phil Collins, Tony Banks, and Mike Rutherford decided to plug in the instruments once more.
By April 2007, the excitement had shifted from press conference rhetoric to the cold, echoing reality of a massive soundstage in Switzerland. It was here, amidst the serene landscapes of the Alps, that the machinery of one of the most ambitious tours in rock history began to grind into motion. The rehearsals for the “Turn It On Again” Tour were not just a musical brush-up; they were a high-stakes reconstruction of a legacy.
1. The Setting: Why Switzerland?
The choice of Switzerland for the initial production rehearsals was both practical and symbolic. Away from the prying eyes of the British tabloids and the bustling distractions of London or Los Angeles, the band sought a “controlled environment.”
They took over a large hangar-like space capable of housing the monstrous stage designed by Mark Fisher. This was a “production rehearsal,” meaning it wasn’t just about the three men finding the right chords; it was about syncing their performance with a massive LED backdrop—the largest of its kind at the time—and a lighting rig that required its own power grid. In the quiet Swiss spring, Genesis began the loud work of reclaiming their throne.
2. Finding the “Genesis Pocket”
For Phil Collins, April 2007 was a period of intense physical and musical re-immersion. Although he had maintained a prolific solo career, playing drums for Genesis is a different beast entirely. The complex time signatures of “In the Cage” and the polyrhythmic intensity of the “Drum Duet” with Chester Thompson required a specific kind of stamina.
In the rehearsal footage from that month, you can see the focus in the room. There was a palpable sense of “muscle memory” kicking in. Tony Banks, the architect of the band’s sophisticated keyboard textures, worked meticulously to recreate the vintage sounds of the 70s and 80s using modern digital workstations. Meanwhile, Mike Rutherford moved seamlessly between his double-neck guitar/bass and his lead guitar roles, ensuring the “Rutherford growl” was present in every track.
3. The Setlist Dilemma
One of the most fascinating aspects of the April rehearsals was the curation of the setlist. How do you condense nearly 40 years of music into a two-and-a-half-hour show?
The band used the Swiss rehearsals to “road-test” transitions. It was during this time that they perfected the legendary medleys that would define the tour. They decided to bridge the gap between their experimental prog roots and their pop-rock dominance. Rehearsing the transition from the eerie, atmospheric “Home by the Sea” into the intricate instrumental sections of “Duke’s Travels” was a highlight of these sessions. They weren’t just playing songs; they were building a narrative of their own evolution.
4. Technology Meets Tradition
April 2007 was a turning point for concert technology. The “Turn It On Again” Tour featured a set design known as “The Bar”—a curved, towering structure that looked like a piece of modern art.
During the Swiss rehearsals, the band had to learn to perform against a visual backdrop that was often overwhelming. The LED screen didn’t just show the band; it displayed abstract art, historical footage, and vibrant colors that changed the emotional temperature of the songs. Rehearsing “Mama” in that space, with the sinister shadow-play on the screens and Collins’s iconic laugh echoing through the Swiss hangar, reportedly gave the crew chills. It was a fusion of 20th-century songwriting and 21st-century visual power.
5. The Atmosphere: “Like They Never Left”
Observers and crew members present during those April weeks often remarked on the camaraderie. Despite the years apart, the chemistry between Collins, Banks, and Rutherford was instantaneous. They were older, perhaps a bit more mellow, but the “Genesis humor”—a dry, self-deprecating British wit—remained intact.
This lack of ego allowed the rehearsals to be incredibly productive. If a song didn’t feel right in the lower register (to accommodate the natural changes in Phil’s voice), they transposed it. If a transition felt clunky, they reworked it. They were craftsmen at work, obsessed with the details of the “Genesis sound.”
6. The Significance in 2026
Looking back from the year 2026, these rehearsals take on a poignant significance. The 2007 tour was the last time the world saw Phil Collins at the height of his drumming powers before his back and nerve issues made playing the kit an impossibility.
The Switzerland sessions were the final “full-strength” preparation of the trio. When we watch the When in Rome documentary today, the footage from April 2007 serves as a masterclass in professional preparation. It shows a band that respected their audience enough to spend a month in a cold hall in Switzerland, perfecting every snare hit and every synth swell, just to make sure the “comeback” was worthy of the name.
Conclusion: The Calm Before the Storm
By the end of April 2007, the Swiss rehearsals concluded. The gear was packed into dozens of trucks, the “ABBAtars” of a different era (the band themselves) were ready, and the stage was set for the tour opener in Helsinki.
Those weeks in Switzerland were the quiet before the thunder. They proved that Genesis wasn’t just a nostalgic memory, but a living, breathing musical force. They didn’t just “Turn It On Again”; they proved that the light had never really gone out.
Genesis Trivia: Did you know that during the 2007 rehearsals, the band considered playing “Abacab” but ultimately dropped it because they couldn’t find an arrangement that satisfied them in the new rehearsals?
What is your favorite memory of the 2007 tour? Did you get to see the massive “Bar” stage in person?