I was baffled by the absence of “Blockades” and “The Void” on the setlist, however, especially as the latter feels like it was made to be played in a stadium, but then there was such a diverse range of track played, that it would’ve been hard to squeeze them in. There were the expected tracks off the latest album, such as “Pressure”, “The Dark Side” and “Thought Contagion”, as well as the gospel version of “Dig Down.” The latter prompted the audience to shine the lights from their phones, making the moment magical. The atmosphere was truly electric, and the crowd lapped in every second of the 2+ hour performance. From Matt Bellamy’s roaring riffs and solos, to Chris Wolstenholme’s unrelenting, additive basslines and Dom Howard’s superb barrage of drumbeats, it was epic. The trio worked together as a well oiled unit, delivering some powerful, epic moments. This was definitely well above that, and extremely solid to boot. Granted, it’s not the very best I’ve seen them, but even on an average day a Muse live set is still mind-blowing. The trio worked together as a well oiled unit, delivering some powerful, epic moments.Īs for the band themselves, they were absolutely on-point, as always.
Simulation muse plus#
Plus it all kept true to the 80’s aesthetic that the band were going for, they really nailed it. There was honestly so much going on, that I could write an essay on it! There were many stunning sights to behold, and the fact that it was all pulled-off so flawlessly with such finesse is something to be applauded. Needless to say this theme of bombast didn’t let up for the rest of the night, this show being not just the biggest level of production I’ve ever seen them do, but some of the biggest production I’ve ever seen at a gig ever! We’re talking a massive LED screen, displaying stunning visuals a small army of neon dancers that changed costumes and routines for different songs performers in mech-suits performers scaling up and down the massive LED screens in time to the music, the visuals syncing perfectly to their movement and a gargantuan skeletal robot (lovingly dubbed as ‘Murphy’) making an appearance towards the end of the show. This was all whilst Chris Wolstenholme and Dom Howard pounded out a cinematic drumbeat either side of the stage. It was a massive, bombastic start to the proceedings, with neon-clad dancers playing glowing trumpets surrounding a podium at the end of a catwalk, where Matt Bellamy arose, he himself in LED shades, wielding a shining power glove. Then it was time for the main event, as Muse opened with the alternate reality version of “Algorithm”. My respect for this man just keeps on growing! The set was topped off with “Killing in the Name” and a cover of John Lenon’s “Power to the People”. Of course, there were political statements made throughout his time on stage, a highlight being a moment where he played his guitar with his teeth, revealing a ‘Fuck Farage’ sign stuck to the back of it. From the get-go he laid down his legendary godlike riffs and guitar-work, playing tracks from his fourth album, The Atlas Underground, as well as hits from Rage Against the Machine and Audioslave. Tom Morello, really sticking it to Nigel Farage! Perhaps an Indie version of The Birthday Massacre (for those of you that follow EoE, you know this is a very good thing!) They appear to have been gaining a lot of momentum in a short space of time, and from my experience this is well deserved. I’d describe their sound as Indie, but with some darker undertones to the music. I found myself pleasantly surprised by their set, it was lively, catchy and uplifting, the perfect combination to get the crowd in the mood for the rest of the day. Having not listened to their material before, I wasn’t sure what to expect. With the sun beating down on a hot, beautiful June afternoon, it was the perfect weather for a stadium showįirst to the stage were Pale Waves. The question is, would the tour match the same level of quality? Luckily, I was able to find this out first-hand! With the sun beating down on a hot, beautiful June afternoon, it was the perfect weather for a stadium show, and the trio of acts that followed. Their latest record definitely ticked that first box, 2018’s Simulation Theory being the best they’ve sounded for years.
Whenever they head into the studio, the next album needs to be better, and the tour to support it needs to bigger than the last. Muse are always playing the game of escalation.
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