“Just About the Best Live Band on the Planet Right Now”: How Muse Rocked Wembley Stadium to its Very Core

“Just About the Best Live Band on the Planet Right Now”: How Muse Rocked Wembley Stadium to its Very Core

By Asher Kenton

Type of Article: Gig Review

As Muse embark on their 2^nd sell-out Wembley Stadium show this summer (their 4^th in total), after also headlining Glastonbury Festival this year for the second time, they are, in the U.K. at least, a band with nothing to prove. In front of 90,000 or so dedicated fans, Muse tore down a fully-packed Wembley Stadium with a stunning set, re-asserted their reputation as the best live act in the world.

After excellent support from Biffy Clyro and White Lies, the wait was finally over, and Matt Bellamy, Chris Wolstenholme and Dom Howard took to the stage. Preceded by protesters holding up signs declaring lyrics from the recent album such as, “They shall not control us”, “These wars cannot be won” “We will be victorious”, they plunged straight into new hit “Uprising”. While not to everyone’s taste, it set the scene for the politically charged theme of the evening, before moving on to the electric “Supermassive Black Hole”. New instant-hit MK Ultra, with its huge riffs, then began an evening full of moshing, enhanced with a breakdown riff borrowed from “Township Rebellion” by Rage Against the Machine. “Map of the Problematique”’s sensational effect-laden guitar intro drove the show forward, before the joyous, though fundamentally average “Guiding Light” gave the audience just a second to get their breath back. Before long however, they powered back into the huge riffs of “Hysteria”, charging around the stage while seemingly never out of breath. The band then sent the crowd wild with long-time fans’ favourite, the phenomenal “Citizens Erased”; the huge rising fifth guitar intro, soon given full depth by the band before the ecstatic chorus and introspective outro gave way to another hardcore fans favourite, the obscure B-side “Nishe”.

Stunning visuals were supported by the giant stage setup. Masses of giant screens made up adjacent walls above where the band stood. This was a visual treat, especially during songs such as “United States of Eurasia” and their unique take on the Nina Simone hit, “Feeling Good”. A central stage then rose up from the ground high into the air, allowing bassist Chris and drummer Dom to show off their skills, jamming on an “MK Ultra” riff before moving into “Undisclosed Desires”.

Mass sing-a-long then ensued during “Starlight” and the “Time is Running Out”, the latter inspired moshing and singing in equal measure. And just when it seemed as if the gig was coming to a beautiful close during “Exogenesis: Part 1: Overture” accompanied by a giant UFO with an acrobat attached to it as it moved around the stadium, the band inspired an exhausted crowd with more heavy-as-hell riffs during “Stockholm Syndrome”.

The best had been saved for the encore however, as front-man Matt Bellamy, wearing a silver sequin suit (and earlier a suit made entirely from LED lights), rode the rising central platform during the epic “Take A Bow”, controlling the 90,000 strong crowd with only a guitar and a microphone for company. Matt Bellamy then joined his bandmates to launch into guitar classic “Plug in Baby”; as the thunderous, rising riff filled the huge venue, the huge crowd responded in force, worshipping this juggernaut of a live act. Inaugural set-closer “Knights Of Cydonia” then ended the evening as fans were given one last chance to go crazy. Emerging battered and bruised but mostly just awestruck, the crowd filtered slowly filtered home after a 2 hour and 15 minute, 23 song, breath-taking show.

All in all, the stage show and visual effects were a joy to behold. However, it was Muse’s collection of roof-raising, guitar-riff laden super-hits, along with their showmanship that make this band just about the best live band in the business right now; an inspiration to younger generations and a lesson in how to combine an overblown and gigantic stage show fitting for such a large arena, with killer rock tunes. And while some of their new tracks are perhaps a step down from their best work, they allow the audience to catch their breath before it is taken away yet again by these three oh-so talented performers.

Another Reading Festival, A Very Special Show: How Arcade Fire Stole the Weekend

Another Reading Festival, A very special show: How Arcade Fire Stole the Weekend

By Asher Kenton

Type of Article: Festival Gig Review

When Montreal-based seven-piece art-rock band Arcade Fire were announced as Reading and Leeds Festival headliners back in March, the reaction amongst all but the cult bands biggest fans was one of uncertainty. Many people were actually wondering who they were and the general consensus was that they were not big enough to headline such a large festival. However, in the months that preceded the festival, many more fans listened to their music, learned to appreciate it and by August, they had a number one album and a sell-out arena tour. Although they had a relatively small crowd for headliners on the Saturday night of Reading Festival (due to competition from Pendulum, Bad Religion and Ash on other stages) the 40,000 or so who turned up were rewarded by an epic, spiritual and special Reading Festival show, one that no-one who was there will forget.

Arriving bang on time, Win Butler took a dig at the previous night’s headliners Guns n’ Roses (who had arrived an hour late on stage) by stating, “at least we’re punctual, right?” The band launched straight into “Ready to Start” from their latest album and then into the classic “Keep the Car Running”, to the delight of the crowd. Accompanied by stunning visuals, the chilling yet triumphant “No Cars Go” then summed up much of the night, encapsulating all that is good about the band: vast instrumentation, dark yet optimistic lyrics, beautifully harmonised vocals and ultimately unstoppable melody. So much so that as the song ended and the band went quiet, the thousands in the crowd continued to sing the lead riff together, as frequently happened during the gig in between songs; rarely has a field full of strangers felt drawn together so closely. The stunning set continued with the wildly chaotic noise of “Roccoco” which moved onto a slower rendition of new favourite “The Suburbs”.

The set included an excellent balance of the band’s three albums at typified by their movement from the visceral “Crown of Love” (Neon Bible) into the pulsating “Neighbourhood 1 (tunnels)” (Funeral). At this point, it was time for Règine Chassaigne to take vocal lead of the band in new song “Sprawl 2 (Mountains Beyond Mountains)”. Already a fans’ favourite, the track allowed Règine’s charming and cascading vocal to shine through; the crowd were transfixed by the trance-like and delightfully melodic nature of the song. Règine danced freely around the stage holding the crowd by her little finger and asserting herself as one of the most interesting and engaging female singers of the last decade, somehow exuding charm, grace and sexuality without falling into the trap of many exploited female rock singers. The band then moved into yet another stunning new song, the charmingly reminiscent “We Used to Wait”.

By this point, the audience knew they were soaking up a very special show indeed. However the real high-point had yet to emerge. Win Butler and co. threw themselves into “Neighbourhood 3 (Power Out)” and as this segued into “Rebellion (lies)”, the band built up one of the most incredible musical moments witnessed at Reading Festival. The end section of “Neighbourhood 3 (Power Out)” led into an orgasmic wall of noise as the audience stood and absorbed this aural treat. Gradually the chords from “Rebellion (lies)” were integrated into the wonderful noise, until the sound was stripped back leaving simply the bass guitar and piano playing the intro as this segue allowed the glorious “Rebellion (lies)” to shine through. The vocals then built up again during the verse before the audience helped the band sing the triumphant chorus. A simply spectacular piece of music that really has to be experienced to believed.

The band went offstage but were soon called back for an encore, completing their set with the thundering guitar chug of “Month of May” and finally, their greatest song of all,  the beautiful “Wake Up”. From the first opening of the grungy, stripped back guitar chords, to the eruption of the crowd singing along to the glorious, emphatic and powerful vocal line, into the innovative breakdown section, this song was yet another highlight of a superb set. As this very special show ended and the crowd began to disperse, it was this enchanting melody which inhabited the minds of thousands of Arcade Fire fans and onlookers who were humming it long into the night.

The Arcade Fire live performance itself was a joy to behold. Not many bands include a furious violinist, someone playing a synthesiser, an electric pianist and two drummers pounding away amongst guitar-driven orchestration. Although the male/female vocal harmonies are a treat, the band is not simply about the lead singers either, with every member showing their energy and passion throughout. Win Butler showed his gratitude for the fans, declaring, "It's nice to meet you! Look, we've never had a hit song, so I don't know what the fuck we're doing here, but until someone comes with a hook we're going to stay", before thanking the crowd for letting them share “Nirvana”’s stage, a humble moment from a band that well deserve the plaudits that they are attaining.

Despite Reading Festival gradually becoming more commercial in the last few years, this Arcade Fire performance was truly a booking of a great band over a large band. A big risk, one might say, but one that, for those who chose to see them at least, paid off and then some. For me, despite enjoying a superb weekend of music all-round, Arcade Fire stood head-and-shoulders above even legends such as Guns N’ Roses, The Libertines, Weezer and Blink 182. The atmosphere was stunning, as those for whom this wasn’t their thing were off seeing Pendulum, Ash or Bad Religion. However, for those who chose to witness such a special event, this show will not be forgotten in a hurry, and will no doubt go down in Reading Festival folklore. 

Axl Rose embarrasses himself further at Reading Festival

Axl Rose embarrasses himself further at Reading Festival

By Asher Kenton

Type of Article: Festival Gig Review

Although not the same as the original line-up, Axl Rose and co. were a much anticipated headline act at Reading Festival. They of course have loads of classic tunes and a very competent group of musicians. However, despite putting on a good show, great in moments, they were ultimately let down by Axl Rose’s ego. Although he is notorious for his his unprofessionalism, the festival organiser, Melvin Benn assured fans before the event that Axl and friends could not turn up late, otherwise they would not be allowed to play past the 11.30pm curfew. However, this didn’t stop them, Axl Rose, dressed like a cowboy and botoxed to within an inch of his life finally decided to walk on stage a full hour late, after many fans had already given up. Despite delivering a competent effort, their unprofessionalism and childishness undermined the whole performance.

Okay, so before I go into the details of Axl Rose’s behaviour let’s talk about the gig itself. Opening with “Chinese Democracy”, although not their finest work, set the scene nicely for the storming “Welcome to the Jungle”, a real classic which was a pleasure to hear live, despite some slight mis-timed pyrotechnics. Stellar classics “It’s So Easy” and “Mr Brownstone” came next; however as the gig wore on, one couldn’t help feeling that the elaborate stage show and pyrotechnics were compensating for, rather than adding to Axl Rose’s vocal performance. Although he still has one of the great Rock n’ roll screams, he appeared breathless a number of times throughout and often missed the opening syllables to vocal lines, as he just about managed to keep up. Furthermore, the endless guitar solos, although impressive, seemed a bit over the top, which is acceptable, nay encouraged if you’re Slash, not quite so much if you’re a hired session guitarist. Also the multiple-minute long piano solo before “November Rain” was just unnecessary. Therefore, the Guns N’ Roses show was pretty good, in fact classics like “Sweet Child o’ Mine” and “Nighttrain” were fantastic to hear live. However, one is ultimately left with the feeling that it’s not quite the Guns N’ Roses we know and love, as all but two of the original members have left, and Axl’s voice is fading.

Therefore, while the concert itself was enjoyable, Axl Rose’s attitude was not. The band finally arrived on stage at 10.30pm, an hour late, and a full one hour forty minutes after sub-headliners Queens of the Stone Age had departed. They give no apology, or even reason as to why they were late. Thus seemingly, Axl Rose just likes to keep his fans waiting, because he sees himself as that important. He has the ego of a man who has been told that he was a god, has had unlimited money thrown at him since he was nineteen years old and he certainly hasn’t grown up. As GnR came back to play an encore, the time reached midnight, the final sound curfew for bands at Reading Festival (the original curfew is actually 11.30pm). Thus, unsurprisingly the power was cut. This threw Axl into a tantrum, who staged a sit-down protest, swore about the organisers and promptly refused to play Leeds Festival (he ultimately backed down after he was faced with a massive lawsuit for breach of contract). Now, in an ideal world, bands would continue to play all through the night. However, this is England, and sound curfews for festivals have to be adhered to. If they are not, this could result in a festival being treated less favourable by local councils, and ultimately could result in losing its license. Therefore, the organisers were given no choice but to pull the plug, being forced into a difficult position due to a band deciding to come on extremely late for their performance. Axl Rose personally claimed on his Twitter page, “we feel at the very least the fans deserve an apology from those responsible for the nonsense” (implying the organisers). However, the only person responsible for this “nonsense” is Axl himself and his refusal to treat his fans with the respect that they deserve, and it is him who should be apologising.

In summary, while the gig itself was enjoyable, the whole thing was tainted by off-stage events. So much so that the whole thing seemed like a total shambles. These events, coupled with being boo-ed offstage at their own gig in Dublin just days afterwards, should signal the end of Axl Rose and support group shaming the bands tremendous legacy. However, Axl’s inability to sort his attitude out, and still wanting to exploit the band-name for every penny means that no doubt Axl will continue to embarrass himself and blemish anyone associated with him. Now we now why Slash and the other original band members won’t go anywhere near him.