Months of anticipation and waiting finally cumulated into an evening of mind blowing sounds and stage production courtesy of Muse.
There was no time for a warm up with Birds of Tokyo launching into Silhouettic with a slaughter of energy and precision. It was a perfect opening to an incredibly tight set and an official welcome to the show. The fury of White Witch was an open invitation to dance before a short recovery commencing with When the Night Falls Quiet.
As the echoes of Circles came to an end, drums took charge during Broken Bones with the crowd earning accolades from the stage for wicked participation. Roaring guitars through Wild at Heart led to the stage being illuminated by soft amber hues accompanying This Fire. But the brightness soon returned with the luminescent glow emanating from the sea of mobile phones alight for Lanterns. A truly spectacular moment.
As the lights dimmed again, anticipation grew as a pyramid structure formed on stage as a multilevel projection screen to the soundtrack of The 2nd Law: Isolated System. While waiting on baited breath, the pyramid inversed to reveal Muse to roars from all corners of the arena as the band kicked off proceedings with Supremacy.
Given that the brutal Supermassive Black Hole was included as the second song of the night (a personal favourite); there was some trepidation as to where things would possibly go next after peaking so early. But as is the case with the mighty live shows from Muse, the unravelling of the night revealed more and more.
The funky sounds of Panic Station were accompanied with Matthew Bellamy’s first approach to the crowd on the floor, confidently strutting around the stage and its various platforms and extensions. The stark contrast of the lone harmonica and eerie sounds of Ennio Morricone’s ‘Man with a Harmonica’ built before hearing the infamous and immediately identifiable intro to Knights of Cydonia.
Beyond audible delights, staging amazed with lasers shooting from the perimeter of the stage syncing to guitar rhythms and piano melodies syncing to lights under the piano lid. The fuchsia neon tones would have been fit for the likes of Elton John, while using the lens of sunglasses as projection screens was pure genius.
Things may not have worked out with Citizens Erased in Perth, but after some rehearsing a successful performance of it was met with an elated and relieved response from all on stage, and formed one of the few nostalgic recollection of Origins of Symmetry on the night apart from Plug In Baby later in the night. For a change of scenery, the longing of Undisclosed Desires was delivered from the perimeter platform of the stage before the encapsulating layering of Madness and anthem-like crowd participation in Time is Running Out.
A somewhat abrupt end to Stockholm Syndrome and its multiple TV screen projections was filled with a quick interlude to The 2nd Law: Unsustainable before the revolt of the Muse army for Uprising. Adorned in red, and complete with repeated images of the band on screen, communal fist pumps and sing-alongs raised fury and call to arms.
The tragedy of events earlier in the day was turned into celebration with Starlight dedicated to Nelson Mandela. A suitable and emotive chorale contribution from all corners of the arena finally got everyone on their feet and kept them there for the finale of Survival.