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MEN Arena, Manchester
10/11/06
 If images of a music concert by a British group called Muse were blasted
back fifty years in time as the only representation of life in 2006,
those folk back in the 50s would quite possibly believe the new
millennium had spawned a new Sci-Fi style civilisation where flying
cars, robots and intergalactic travel were the norm.
Of course, the reality is a lot different. Outside on this cold and
dreary evening in November ’06, Manchester is a lifeless place. Rain
lashes down over old, industrial buildings whilst people move about, on
foot, from one faceless bar to the next.
Inside the MEN though, things are a lot different. All that fancy
futuristic stuff is likely to come to life as one of the biggest bands
in the country prepare to take the stage.
First though, there’s the obligatory support act to check out.
You get the feeling that if this were a ‘Noisettes gig inside an
intimate venue, then The Noisettes would be good.
As it is, they’re playing to a Manchester Evening News Arena slowly
filling to the brim with eager Muse fans, and whilst the band are not
exactly bad, they’re not that good either.
Mediocre. That’s perhaps the best word to sum up tonight’s performance
by the London trio.
Singer Shingai Shoniwa leaps about the place soaked in her own
flamboyance, with a big daft feather boa draped across her shoulders and
a penchant for picking up a bass guitar whenever she feels like it.
Meanwhile, monster-haired drummer Jamie thrashes around behind his kit
like a mad man and Dan (guitars) lets out one screeching wail of
electric noise after another.
Together, you get the impression that this is supposed to be chaotic,
energetic, rambunctious even.
Instead, it just seems like a load of noise going off somewhere in the
background that not everybody cares about.
Yet any half-heartedness eventually turns to hysteria as Muse take to
the stage for a very, very impressive show.
Widely regarded as one of the best live bands in the UK, it’s not like
Muse to just trot out and play any ordinary gig, and tonight is no
different.
As frontman and all-round rock god Matt Bellamy appears on stage
drenched in a pool of darkness, alongside a surprisingly menacing
looking Chris (bass), diminutive drummer, Dominic is largely conspicuous
by his absence.
Yet before long, a huge spaceship type thing blasts off from the stage,
revealing the hidden tub thumper sat in its ‘pod’.
It’s an awesome sight, backed up by an amazing video backdrop of
futuristic, science-fiction style images; from colossal robots to our
personal favourite, old-skool Space Invaders blasting the snot out of
everything in sight.
Even the video screens to the side, designed to give those in the
nose-bleed seats a better picture of what’s going on, are digitally
enhanced and look great.
Bright lights flash, spaceships crash and even Bellamy’s guitar has some
sort of spiralling light inside it. It’s all very exciting.
Yet as impressive as all this is, looks are only part of the package.
It’s the music that really attracted this sold-out crowd to Muse, and oh
is that music good!
Treating the crowd to tracks from their recent * ahem * massive new
album ‘Black Holes & Revelations’ as well as old favourites, Muse play a
set that lasts for over an hour and a half, but could’ve gone on for
hours longer without once loosing momentum.
Kicking things off with ‘Take A Bow’, the band rip through a number of
tunes, including ‘Hysteria’ and a mighty version of ‘Butterflies &
Hurricanes’. Yet it’s ‘Plug in Baby’ that really brings the MEN to life,
that oh-so familiar riff still sounding as exciting tonight as it did
the first time we heard it five years ago.
For us, 2001’s ‘Origin of Symmetry’ album which spawned this blazing ode
to the electric guitar was what first got us hooked on Muses’ brand of
pompous, modern day prog-rock, but there was an album before that, a
damn good album too.
“This is for those who still remember our first album,” says Bellamy,
who whilst not exactly partaking in between-song monologues, does engage
with the audience a lot more than we’ve ever seen him do in the past.
With that, the band head into what can only be described as a charming
rendition of ‘Muscle Museum’.
Not long after, Bellamy leads his troops into a powerful yet elegant
version of ‘Bliss’, complete with giant balloons filled with red glitter
that are dropped above the crowd for a mass game of rock volleyball.
Muse follow this with that bombastic, bass-heavy staple of their live
show, the cover of Nina Simone’s ‘Feeling Good’.
After a few more numbers, the band bring their main set to a close,
first with a booming run through of ‘Super Massive Black Hole’ (which is
when those aforementioned robots turn up), before eliciting a mass
sing-a-along to ‘Time is Running Out’. Eventually, they reach a
faux-finale by blasting out the electrifying ‘Stockholm Syndrome’.
And whilst the band pops backstage for a breather, the excitable crowd
are still fired up and eager for more.
Muse return for an encore to a rapturous reception, gradually picking
the pace back up with one of the gentler songs from their recent LP,
‘Starlight’, before tearing the place apart with old favourite, ‘New
Born’.
Finally bringing the night to a close, Bellamy & Co. top the night off
in the only way they could, with a grand, colossal rendition of upcoming
single ‘Knights of Cydonia’ that builds up and up to that huge,
‘Bohemian Rhapsody’ style blast where everyone goes absolutely mental.
And then, it’s over.
Anyone can play a gig, but it takes a special sort of band to really put
on a show.
And Muse, the rock gods from the future, are such a band.
Recommended Links:
The Noisettes
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http://www.thenoisettes.com
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http://www.myspace.com/noisettesuk
Muse
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www.muse.mu
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http://www.myspace.com/muse
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