Three giant screens illuminated through the darkness to resemble buildings, where lines of figures appeared to march ominously up staircases to blaring music. One by one, the bodies came to a halt. Like a slow motion domino effect, the forms fell from the top.
After four clicks of drumsticks, sheets fell from the buildings to reveal Matthew Bellamy, Dominic Howard and Chris Wolstenholme, members of the English rock band Muse. They immediately jumped into their hit song “Uprising,” and the crowd screamed for joy, jumping to the beat.
On tour for their latest album, The Resistance, Muse performed 17 songs, including many old favorites from previous albums, April 14. Along with this setlist, the group performed many improvised sections and tributes like small teasers of AC/DC choruses in between songs.
Prior to Muse’s show, the Silversun Pickups provided their last opening set touring with Muse.
When Muse appeared onstage, their energy level was passionate. With such high-energy and popular songs, it would be impossible for the band to simply stand onstage and play music. As Bellamy naturally took his place as the front man, he hopped and rocked out to his music, often falling to his knees to shread a solo.
The moving set brought an eye-appealing feature to the stage, as stage sections were able to raise the three into the air and Howard’s drumming platform rotated at times. This mobile stage gave the audience members seated behind access to a good view.
Bellamy never missed an opportunity to show off his incredible guitar skills. This attention-grabber would usually irritate me, as many “musicians” show off despite their lack of talent. However, Bellamy proves every right in the world to entertain his audience with his impressive riffs and solos. His charisma was so fascinating that I was unable to look away from him in fear of missing one of his many amazing moments with his collection of custom Manson guitars.
When singing, Bellamy’s vocals do not remain in his natural tenor key, but range up to a falsetto. In songs like “Supermassive Black Hole,” he maintains the high key to vocalize, and combines this aspect with his guitar chorus, Howard’s complex drumming and Wolstenholme’s intricate bass line. This collaboration adds up to a unique rock sound, true to the classic Muse style.
The concert gave me new appreciation for songs which had never particularly impressed me before. On the latest album, “United States of Eurasia” originally struck me as a pleasant song but it has strong Anarchist beliefs. The song’s purpose did not strike any chords with me, but it was a nice tune regardless. However, when Bellamy sat at his piano and belted out the forceful lyrics, it was irresistible to move with the beat and raise my fist in the air with him despite my skeptical attitude towards the words themselves.
“Unnatural Selection” had always been the one song on The Resistance which I tended to skip over due to lack of interest. When the song began at the concert, however, my mind was open to a change in opinion — and it certainly changed. I could not believe my previous ignorance to “Unnatural Selection.” Its drive, guitar solo, changing tempos and vocals completely compelled me. As result, this song became my favorite live Muse song, even topping famous songs like “Starlight.” Since the concert, “Unnatural Selection” has turned into the song that one is most likely to hear me singing to myself.
When it came time for “Undisclosed Desires,” Bellamy traded in his trademark glittery red guitar for a synthesizer. This song contained the most memorable light show, with an array of powerful green lazers. For the split second I dared to look away from the stage, my eyes were treated to a quite spectacular sight of what appeared to be thousands of green stars blinking against the crowd behind me. The lasers danced in patterns across the stage around Bellamy.
For their first finale, Muse bursted with the high-energy favorite, “Plug In Baby.” As if Bellamy’s overflowing vigor was not enough of a spectacle, an avalanche of giant balloons resembling eyeballs cascaded from the rafters into the audience. The crowds rebounded the balloons over their heads, which bursted with confetti when popped. When a stray balloon wandered onstage, Bellamy drop-kicked it into the fans seated behind him.
After this, the lights went down as Muse left the stage. Shortly, the three were back onstage to provide an encore. I expected their final song, “Knights of Cydonia” to begin, but was pleasantly surprised with the overture to their three-part “Exogenesis” symphony. Instead of using an string orchestra for the piece, Bellamy’s amplified guitar rang through the arena with beautiful chords and tunes. When this was over, I once again braced myself for the last song, but was met with an old favorite, “Stockholm Syndrome.”
Finally, the time came for “Knights of Cydonia.” Wolstenholme appeared with a harmonica for an intro to Bellamy’s epic guitar riff to start off the song. Audience members were thrilled with the lengthy finale, and sang along to the song we all wished would never end. Despite its length, the song was over before any of us were ready to bid Muse farewell.
Like all concerts of my favorite bands, I immediately needed another show as soon as they walked offstage. However, this concert left me satisfied. Bellamy, Wolstenholme and Howard played 17 fabulous songs without flaw, put on a wonderful show and rocked out to their music. With all of the aspects added up, the loud music, Bellamy’s voice, their instruments and the light show, Muse produced an entirely epic show. I could not have asked for anything more from Muse.
Muse will be performing on Sept. 22 in San Diego at the Viejas Arena, Sept. 23 in Anaheim at the Honda Center and Sept. 25 at the Staples Center in Los Angeles.
