aMuse Me

I arrived at the Garden as the Cold War Kids were about four songs into their set, but just in time to see ‘Hang Me Up to Dry,’ one of their catchier melodies. As they wrapped up the final song, they lunged into an instrumental fray forcing every possible screech and slam out of their tools.

Almost battling for sound, in what felt like something Modest Mouse has mastered, Cold War Kids yelled and banged their way to completion—somehow making music worth nodding to, but it felt more self-serving than crowd pleasing as each member attempted to milk the seconds on this grand stage that they will probably never play in their own right.

House lights up.

The crowd is eclectic—ranging from coifed wannabe hipsters sporting iPhones paid for with parental funding no doubt to jocks waving to their not so lucky pals sitting in the rafters, with all the requisite skater chicks, aging rockers, and gleam-eyed first time concert goers that you’d spot at any arena show worth a damn. But, like any New York concert, pairs of black and grey converse line the floor—the uniform of our youth and our city.

The Klaxons “Magick” starts up on the house stereo—those who recognized the beat looked to each other with a knowing glance. Perhaps they saw the band at Bowery and were looking for a reason to strike up a conversation.

Oddly, a handicapped person motors his way into the center of the pit, squashing any chance of a pit worthy of the considerable rock that was ahead; but wait—he’s moving.

AC/DC's “Back in Black” hums as the drum kit is unveiled and the crowd’s cheers grow louder. Now I can feel it in the air, this is going to be one of those shows. These people are ready to be here.

In front of me, a girl says to her friend, “You should sign up for eHarmony.com.” And from the looks of it, I don’t even think that would help her.

Minutes later, the crowd is truly back in black as the lights start shutting off throughout the arena. Row by row, Madison Square Garden is enveloped in darkness.

Suddenly, a familiar voice blares over the loudspeaker, speaking of secret societies and man’s need to be free and independent. For a brief second, I feel like Zach De La Rocha is going to march onstage. While most bands’ usage of political rhetoric to may come off as out of place—John F. Kennedy’s speech excerpt actually worked. Matt Bellamy has stated that his music has become more influenced by politics but he never wanted to come off preachy.

In a time where rock music is no longer the counterculture and cannot generate mass protest like it once did because it is the mainstream—the return of Rage and moments like this at Muse are refreshing for those of us who feel helpless in our desire to get the word out there.

But then again, it’s no secret that corporations and governments are corrupt—and the t-shirts are $30 and the tickets are $50—so what exactly are we selling here?

Regardless, the moment fit.

They blasted into Knights of Cydonia to open the set, setting the stage for a special evening as this song is usually used in encores.

The energy was electric as each song resonated with the crowd and you realize how many solid works that this band has put together. The three opening songs could have very well been the three closing songs.

After attending the White Stripes at the Garden and being thoroughly disappointed with the demeanor of the General Admission crowd, (I mean how could you stand still when Jack pulls out Fell in Love with a Girl and Seven Nation Army in the same set? This is from a guy who shies away from “hits”). But this crowd was going to be different. One girl behind me hoped it wasn’t as crazy as the Red Hot Chili Peppers show here in 2003. I quietly hoped it was.

The rest of the set played out as only one could wish. Solid song after solid song—finished with an amazing rendition of New Born, a track that is even better live than recorded, and Plug In Baby—one of the more metal songs in their collection that was accompanied by giant balloons filled with confetti, a trick I saw them pull at a show in North Carolina that never gets old.

They thanked the crowd and walked off. Now came one of the most moving sights I’ve ever seen at a show and reminded me of what it could have felt like seeing Van Halen or Led Zeppelin in an enormous arena.

Slowly the audience began to light up, but not with the house lights indicated the completion of the show, but rather with glowing LCD lights from cell phones, blackberries, and the old fashioned lighter. It was a true light show and when the band reappeared on stage you could tell that they knew this was not the normal reception for a Garden show. Dominic turned toward Matt and you could read his lips as he said, “Man, check out all the lights.”

The encore started slowly with Soldier’s Poem, but then fast-forwarded to one of the greatest rarely-played songs in their catalogue. Matt even said into the microphone, “I think this is the first time we’re playing this song in the United States.” Unintended was exactly what this crowd deserved, and even though it was written on the set list, you had to hope that they pulled it out only because we gave them no choice. We were different.

With the crowd simultaneously subdued and charged—Matt lurched in Stockholm Syndrome; eleven minutes worth and finally closed with Take a Bow accompanied by an incredible laser display and CO2 explosions on the final chord.

Exit stage left. Lights on for real this time.

I can’t hear, but can’t stop smiling---that was a show.

Set list below: (Muse - Madison Square Garden - 8/6/07)

Knights of Cydonia
Map of the Problematique
Hysteria
Supermassive Black Hole
City of Delusion
Butterflies and Hurricanes
Hoodoo
Apocalypse Please
Feeling Good
Sunburn
Invincible
Starlight
Time is Running Out
New Born
Plug in Baby
--Encore--
Soldier's Poem
Unintended
Stockholm Syndrome
Take a Bow