Muse, Biffy Clyro @ Rod LaverArena, Melbourne (14/12/2010)

Thu 16th Dec, 2010 in Gig Reviews

Stepping into the aisles of Rod Laver Arena pre-show this particular evening would have been enough to ignite any mind with unequivocal excitement. Three tall spires resembling bullet-gray apartment towers had been placed at the centre of the expansive stage, inspired by George Orwell’s novel 1984. Already, eager fans had confirmed for them that which they had suspected of a night before their beloved band: they were in for a spectacle.

First up were Biffy Clyro, an alternative-rock act from Scotland. Despite recent award-winning form, they’re an act that professes little that is actually moving or unique. Biffy Clyro seem content to work within the confines of a self-imposed genre-based prison, flitting back and forth between frustratingly stock rock and roll and radio-ripe ballads. There were notable elements of appeal for Muse fans on display, such as the energy and the intensity of the band’s performance, matching their furious, gritty aesthetic. The truth is, however, that the music is so far from subversive that it’s difficult to maintain interest.

The ballads are without doubt the worst aspect of the band. Biffy Clyro indulge in distinctly naff lyrical content, crafting shallow anthems for the downtrodden with embarrassing results. These songs provide the worst kind of self-pity, expressed with ineloquent, unsubtle wordplay; bypassing real thought beyond basic rhymes and notions of being together, being apart and things not lasting forever. Furthermore, musically, they will owe Dashboard Confessional substantial royalties if they continue with these mildly-offensive, pseudo-emotional pieces.

It’s these interludes that make you wish Biffy Clyro would stick to doing what they do best and just rock out all over the stage. But even that’s not saying much either, as they’re a band currently drifting without spark enough to separate them from the pack. It’s not as if they are bad musicians, nor are devoid of talent. It’s probably just time to start breaking a few creative rules in the name of musical experimentation.

Following the timely departure of Biffy Clyro, an enormous road crew swarmed upon the stage, readying the imminent concert spectacular. Lighting rigs raised high above the stage were soon manned, resembling rotating turrets of rainbow beams set to play just one small part in an obviously intricate show. As the arena became shrouded in darkness, however, all eyes were on the gigantic spires and their curtains, fans desperate for their removal or even one glimpse of their heroes. Hydraulic platforms emerged from the stage, raising Muse before their adoring many. The curtains dropped and the show had begun. Soon, the crowd had ceased to be a crowd and nor were they the same euphoric fans heard shrieking as the lights had dimmed only moments before. Instead, they had unified in perfect synchronicity, an attuned fist-pumping army loyal to the command of an enchanting musical force. The emphatic stadium rocker Uprising saw Muse open their first Melbourne show sensationally.

As you would expect, the trio were in fine form and as brilliantly accomplished as the theatre of their stage show. Matt Bellamy, sporting sparkly sequined attire, would strut confidently from one side of the stage to the other, the band’s masterful riffs in tow. Barely missing a beat, Bellamy somehow made rock and roll look like little more than a walk in the park. It was truly a sight to behold. Christopher Wolstenholme, meanwhile, perpetuated a calm, modest front throughout the set, with drummer Dominic Howard working tirelessly from his own personal rotating platform.

Newborn’s chaotic cymbal-crashes saw the crowd erupt yet again; its furious twisting and turning degenerating into a beautiful, dirty mess. Bellamy seized another opportunity to shine, a flawless falsetto throughout Supermassive Black Hole leading the arena in song. The head-banging Hysteria only upped the ante, with its roaring, supercharged riff and an outro that included a surprise nod to AC/DC’s Back In Black.

Although the band’s new material had been received favourably, it was clear more and more that the fans’ favourites were stuck in the past. Fortunately, despite a few diversions – such as the thinly-veiled dilute of Queen in United States Of Eurasia – the band were happy to oblige.

Sunburn emerged as a highlight of the evening, while singles Undisclosed Desires and Time Is Running Out were similarly terrific. The show became notable for the spires’ visualizations, the sporadic laser shows and a creative reflection of light from Bellamy’s guitar to spotlight fans throughout the arena. This cued one more song before the band’s first and only break of the evening: Plug In Baby. Suddenly, giant eyeball balloons had been unleashed upon the pit, bouncing merrily to and from the palms and fists of awestruck punters.

Muse would return to the stage moments later for their encore. The best had been saved until last; Knights Of Cydonia the show stopping finale to an epic evening. The fans again banded together in deafening voice, aiding the anthem in all of its galloping glory. Typically, the outro of Knights proved unforgettably explosive, Muse leaving an undeniable impression on a rapturous crowd.

If one must be awfully pedantic about the show, it could be said that Muse, beyond their gimmicks and antics, rarely engaged with their audience. Though it’s true that their show had been a rock and roll masterclass, it had been one without heart, as if it had just been another night. So much of the above account may suggest otherwise, but, to clarify, the musicians themselves are as important as the music. The personality of each member never shone through and a genuine connection with the audience – beyond an induced magpie-mentality of “Wow! Shiny things!” – was never of great interest to them.

Still, it’s a minor grievance in what was a brilliant performance, ensuring that Muse are well and truly at the top of their game as stadium heavyweights of the world. It’s a delight to think that, given the band’s frequent appearances down under, it won’t be too long until they’re back again.

CHECK OUT THE IMMENSE SCALE OF THE SHOW HERE