This past week’s swing through southern California included three arena dates - two weekend shows at Staples and one at the Honda Center in Anaheim - so the group could’ve just played a single stadium show and surely could’ve pulled that off as it did just weeks ago at Wembley in London.Įmploying a battery of video screens that at times looked like giant shards of glass, there were massive views of the band, provocative images that ranged from DNA helix to anti-war footage, Technicolor nature scenes and more surreal eye candy. America started to catch on a few years ago, and now the band is huge not just in sound and but in appeal.
while already filling much larger venues in Europe. Muse always sounded bigger than the theater-size places it first played in the U.S. Muse’s greatest songs - from storm-the-heavens anthems to melodramatic ballads - are last chances, gambles with fate, challenges to the gods. Right now, what other band can summon such epic prowess and passion? Coldplay? Perhaps, but that group enchants more than thunders. Muse has unofficially received that blessing anyway, opening some of U2’s stadium dates last year. Muse’s finest material sees Bellamy marrying riffs that sometimes approach speed metal to Christopher Wolstenholme monolithic and often surprisingly funky bass playing, with paranoid sci-fi lyrics sprinkled over the top.LOS ANGELES (Hollywood Reporter) - With U2 on tour hiatus until 2011, no other group looks more poised to take over its biggest-band-in-the-world status than Muse, and the British trio proved its mettle with a mighty performance Saturday at the Staples Center in Los Angeles. Bellamy has never been afraid to borrow the best bits from other bands, from the crunchy guitar pop of pre-“Kid A” Radiohead to the operatic pomp of Queen. What has always made Muse so irresistible - and what also delayed their Stateside success - is the band’s complete and utter lack of shame. For the first half hour or so, they pretty much lived up to Taylor’s hype by rolling out some of their biggest, earth-shatteringest songs: “Knights of Cydonia,” “Supermassive Black Hole,” “Hysteria” and “Uprising,” the band’s first rock-radio chart topper. While a relatively simple concept, the effect proved stunning and actually made the enclosed Target Center feel more like expansive Target Field.īut all that razzle-dazzle wouldn’t mean much if Muse didn’t deliver musically. The staging offered three massive towers of LED lights - the show began with each band member perched atop one - that moved up and down throughout the evening, all the while projecting video in the place of traditional big screens. In front of a youthful, enthusiastic audience that crowded onto the general-admission floor and filled the entire lower bowl of the arena, Muse pulled out all the high-tech tricks they’ve been using in Europe for years now. But Tuesday night was the first time Muse brought their full-force, arena-rattling live show to town, after years of scaling back the spectacle to fit into clubs and theaters.
They’ve even performed at the Target Center, a decade back when they were complete unknowns opening for the Red Hot Chili Peppers and Foo Fighters, a fact lead singer/guitarist/pianist Matthew Bellamy noted from the stage. To be clear, Muse has played the Cities numerous times in the past.
Earlier this summer, Queen drummer Roger Taylor described Muse as “probably the greatest live act in the world today.” Tuesday night, the British trio got their first chance to prove it to local fans when they headlined the Target Center in downtown Minneapolis.
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