Three mini-skyscrapers stood on an otherwise stripped-down stage.
It was an intriguing-looking sight as theatrically-bent British power-prog-rock trio Muse brought their biggest production to date to North America, specifically the Air Canada Centre on Monday night, in support of their Orwellian-influenced fifth album, The Resistance.
The entrance of singer-guitarist-pianist Matthew Bellamy, bassist Christopher Wolstenholme and drummer Dominic Howard was preceded by activity inside those striking-looking office buildings as people appeared to be climbing stairs before falling off them.
Then the curtains dropped to reveal the three band members playing inside the middle of each building, including Howard on a rotating drum kit, while video effects and closeups of each musician were projected on the rectangular cubes above and below them.
“They will not control us - we will be victorious,” sang Bellamy in his beautiful falsetto, on the rousing show opener Uprising, the breakout song from The Resistance.
And just when you thought the group might be stuck up there and stationary for the entire show, the lower cubes finally descended after the title track from The Resistance. The group freely moves around the circular stage in the midst of a fierce green laser light show during the older song, New Born.
It was a flashy mix of Queen, Pink Floyd, Rush and Yes all rolled into one. Think big, loud, fun rock ‘n’ roll with plenty of bells and whistles.
The energy level continued with Map of the Problematique from their 2006 Mecury-Prize nominated album, Black Holes & Revelations, and the thumping electro-rocker Supermassive Black Hole, also from that album.
“It’s good seeing you guys, it’s been way too long,” said Bellamy.
The in-your-face production only slowed down during ballads like Guiding Light or United States Of Eurasia, both from The Resistance, the latter featuring Bellamy on piano, and all three musicians rising up again on those rectangular blocks.
The trio also covered Anthony Newley’s 1960s track, Feeling Good, and moved into Depeche Mode electro ballad territory on Undisclosed Desires, again from The Resistance.
But mainly it was one loud, cranked-up affair, in volume, lights and imagery.
Highlights included the soaring, heavily percussive Starlight, from Black Holes & Revelations, which prompted the first singalong of the night (Time Is Running Out prompted the second), the bouncing eye-ball balloons during older song, Plug In Baby, the dramatic show closer Unnatural Selection and the equally enthralling, encore-ending Knights of Cydonia, both featuring some stellar guitar work by Bellamy.
Opening Monday night were likeable L.A. alt-rock outfit Silversun Pickups, who are slowly building a fanbase north of the border of the strength of their second album, 2009’s Swoon. Although they chose to end their animated 45-minute set with their breakout song, Lazy Eye (check out the cool kids video) from 2006’s debut disc, Carnavas.
Bolstered by propulsive drummer Christopher Guanlao and the expressive singing and big guitar sound of frontman Brian Aubert, the band - rounded out by bassist-singer Nikki Monninger and keyboardist Joe Lester - seemed psyched to be playing a big venue and the audience responded with a major clap-along during the penultimate song, Panic Switch from Swoon.
“We’re very lucky because the reason we’re in this building, with these three (buildings) behind us, is Muse, and I gotta say, they’re f---ing spectacular, so hold on to your s--t,” said the playful Aubert.
Clearly opening for the the likes of Wolfmother, OK Go, Snow Patrol, Foo Fighters, and Kaiser Chiefs, in the last few years has payed off in terms of confidence for Silversun Pickups who were nominated for a best new artist Grammy earlier this year.
RATING: 4 out of 5
