(He’s a guitar hero, too, not incidentally - the 19-second guitar solo in “Madness” sounded even better and more cranked-up than ever.) There is a kind of formula to Muse’s songs - not nearly all of them, but most of ’em that are “hits” - that involves a build from a moody, broody verse to a suspenseful, crescendoing pre-chorus to an explosive peak that is just about as much an aria as rock chorus. Even if he does have to sing “Madness” - the greatest rock power ballad of the last 25 years - a half-step down from the record, his three-octave range is a marvel to aurally behold, at least if you aren’t holding any long-standing grudges against, like, passion. I’ll come down as unabashedly in favor, especially when it comes to the highly oxygenated emissions of Bellamy, one of the talented male singers the flagging genre still boasts … a Bono who’s got a few Pavarotti genes spliced into his DNA. Speaking of inflatables, anyway, how you feel about hot air generally will probably be indicative of how you feel about Muse specifically. The “Will of the People” Tour (named for the group’s ninth album, which came out in August) has two giant inflatables as its main points of visual interest and grandeur, replacing and doubling up on the giant sinister robot that hovered over the rawk on the “Simulation Theory” tour four years ago. But compared to what almost anyone else is doing who isn’t either a pop superstar or a possible anti-semite, it’s a lot. And they’ve done less, too, although only on fleeting, promotional occasions, like the bare-bones mini-tour that had them visiting the nearby Wiltern for an album-launch underplay last October. (Or putting a Star of David on a pig.)īut why spend too much looking around at crowd demographics when Bellamy and company are giving you so much to look at on stage? They’ve actually done more elaborate staging there were no drones this time. There were kids, or relative kids, too, but a lot of them in the company of dads who wanted to show them what rock shows used to be like, and were probably happy to be able to take them to one where the main guy on stage wasn’t pushing or surpassing 80. But the two primary generations were, first, the folks that grew up on KROQ as kids in the last real glory days of alt-rock in the ’90s and 2000s, and then, secondarily, the sub-generation before that, a little older than 44-year-old Bellamy, even, who recognize Muse as probably the last great link in a chain that goes back to the classic rock, or pomp-rock, of the 1970s. Looking around at the full house at Stap-… er, Crypto, you would definitely say the audience counted as intergenerational, by any measure. TPi Photos: Andrew Benge & TPi pasts, plural. Stood in Manchester’s Etihad Stadium with crewmembers on one side and Muse faithful on the other, the extravagantly dystopian affair was a reflection of the band’s continued devotion to technical innovation and pushing of the boundaries of live touring. Simulation Theory World Tour was equal parts rock opera come musical theatre, with thumping sound, a dynamic lighting design and blockbusterquality visuals projected onto the gossamer-like LED screens – the showcase, combined with the performer’s neon outfits, HAZMAT acrobatics, SFX, futuristic law enforcers and, of course, Murph the Robot was peak sci-fi spectacular. Sebastian Tobie, eps Director Global Operations, said: “Not only does this guarantee a safe concert environment for the audience but it also satisfies the requirements of this high-end production.” The company also supplied 95m of cable protection for up to 30 cable runs with trip-proof and wheel chair accessible ADA ramps, as well as corresponding width reducers for an ideal run through the barrier line. Our goal is to take the stress out of safety for the production teams so they can get on and do what they do best.” eps deployed 185m of GIGS barriers and a pair of technicians onsite to provide heavy-duty protection for stages, mixers and delay towers. “We make ourselves available to answer any technical questions or concerns on safe working through rehearsals and then out on the road. The information was then collated and presented in an easy to navigate ‘safety file’ that could be accessed by local promoters. A key pre-production element was helping to ensure the local promoters and authorities receive the information they need for the various territories to enable local licensing.
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