Epic-rock band Muse raises the
bar for pyrotechnics
By Jon Jacobs
September 13, 2007 | The McKay Events Center has a
large parking lot. Hordes of fans have made pilgrimages
from all over the state to see the main event, Devon-based
epic-rockers, Muse. The resulting crowd fills the entirety
of the parking lot, waiting for admittance to one of
the most anticipated concerts of the year.
After an eternity of waiting, eager fans are finally
admitted into the venue, where minor chaos ensues; fans
run to every corner of the venue searching for merchandise,
drinks, and the stage. Once the herd settles and makes
their way to the center stage, the lights go dim and
the show begins.
Opening band Immigrant starts the night off with high
energy and dancy grooves, pumping up the adrenaline
in the crowd. After their allotted five-song set, middle
band Juliette and the Licks take stage. The crowd seems
less interested in this Ani Difranco-turned-rock-band
outfit, but the energy remains. They bid adieu and the
lights return.
During the set-up for Muse, anticipation is noticeably
high, fans stand around with their hands neatly in their
pockets, trying amicably to strike up casual small talk
with the fans closest them. After about 20 minutes,
anticipation seems to be turning to paranoia; What if
Muse doesn't take the stage?
Fortunately, this feeling subsides as the lights dim
and battle-worthy chants of "Muse, Muse, Muse," ensue,
echoing through the crowd. Finally the members take
stage followed by a hysteria of cheers and applause.
Tension builds as walls of noise are transmitted from
the speakers until the moment arrives where the opening
chords of Knights of Cydonia are played. When
singer Matthew Bellamy issues his fierce, Freddy Mercury-worthy
falsetto I hear the not so subtle scream of "Muse still
rocks" from a fan next to me, and the feeling is reciprocated
by the crowd as they bounce to catchy guitar-licking
chorus.
With the new additions of intensive pyrotechnics,
it is difficult not to be overcome by the grandeur of
it all. Three 20-foot screens are hoisted above the
band, lights and cameras in nearly every conceivable
place, several units that could only be described as
space-age heaters are held in symmetric locality to
the band. Only one word can be used to describe the
occasion: spectacle.
The high-octane energy remains as crowd favorites
including the techno beat turned rock n' roll of Map
of the Problematique, the early '90s, Prince-inspired
Supermassive Black Hole, and the jaw-dropping
bass-riffed Hysteria. Spirits are high, and
adrenaline is fueled through our ears."How could it
get any better" the unspoken question.
As if in answer to our question, Bellamy takes off
his electric guitar and exchanges it for an acoustic
model. Muse unplugged? Hmmm. . . . After waiting a few
moments, they flow into the Queen-inspired ballad Soldier's
Poem. Images of the world, war, and police forces
are cascaded upon the screens as the lights alternate
from dim to non-existent. The change of mood is a welcome
one as the crowd sways back and forth to the mid-tempo
tune.
The calmness is not kept for long as Muse soon returns
to form with the lightning fast solo of invincible.
It is a unique sight to see fingers moving that quickly
in a harmony of precision. The set continues with the
demonically fast tempo until the curiously '90s pop-oriented
Plug in Baby, after which the bands leaves
the stage.
The crowd is not fooled. We know there is more rocking
to be done, and so no one moves. Chants of "Muse, Muse,
Muse," return with a vengeance. After a few moments,
the room goes completely black and a familiar voice
echoes over the crowd. Words are projected over the
screens behind the stage. The voice speaks of the evils
of the secret societies and covert operations that plague
the world, almost pleading for their destruction. The
words and voice belong to none other than John Fitzgerald
Kennedy.
Upon this discovery, the crowd is again assaulted
with the sounds of Muse's musical intricacy with the
synthesizer -heavy introduction to Take a Bow.
The obviously politically themed song is well-received
by the crowd as they continue to dance in adoration
of the band.
The encore is short-lived but productive, as Muse
plays concludes the set with one of its most popular
tracks, the finger-licking-goodness of the guitar-heavy
Stockholm Syndrome, complete with hard-rocking
jam out finale. As Bellamy screeches his guitar in wails
of sound after kicking over his amplifier, the entire
stage is lit up in lights, explosions and even giant
balloons filled with paper. Madness of percussion, bass
tapping, and guitar solos fill the room and are suddenly
silenced as the band walks off stage.
The final words come from drummer Domminic Howard,
"How does it feel to be the best city on this tour?"
To which elated, even if somewhat warn-out fans, reply
with screams of idolatry and worship. The lights return,
and the crowd staggers off. This is a concert that will
not soon be forgotten.
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