In reply to Kerning League Gothic :
For me, and you need to know I'm mainly a text guy, the whole thing is too tight. This shows up with there being too much optical space between the double t's -- a problem with a lot of fonts -- and the s paired with the g, which everyone sees.
(From my perspective) One solution is to get the negative space right, and not worry about whether or not the letters touch. The second is the same, but adding the requirement that the letters not touch means setting everything a bit looser.
I think I can get display right, at least, for a book, but having said that, it's still usually 36-point or smaller. In your sample, one way you can go is to break up the existing rhythm by breaking things to a new line. That gives you just a little breathing room. You can further that by changing type size on a some lines. It all has to fit, to balance. Just how you get there is another matter.
In short, rhythm is a demanding master, but you can sometimes change it and get away with things. It is when the rhythm gets broken within a work that you have to compromise for the most awkward paring, and let that dictate the line.
In this example with "gs", I'd try condensing the "s" maybe 1-2 percent. "s" close to perfect with "wheels," but not in "things." Don't think 2 percent would hurt the "s" in "wheels," as far as that goes. Maybe even a little more condensing would work --
Lots of little spacing issues with this font, but that's true with a lot of fonts that are "commercial," as well.