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These will get lost in the Muse in the Australian Media thread. Merge if you must though.


Sydney Morning Herald:

THE progression of the British rockers Muse from indefatigable club-level act to ambitious stadium rock stars has not always been smooth.


For a time, the group were deemed as "Radiohead-lite" for mining an orchestral rock sound considered too similar to those legendary British rockers. The charge that they are an inferior clone to that band long ago dissipated.


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Although their music has regularly (metaphorically at least) reached for the stars, in the past, Muse often relied on overbearing visuals and stadium cliches to get them through a show. Not anymore.


The group has expanded their fanbase with each record. And this week over two nights at Rod Laver Arena, they played to almost 30,000 fans in Melbourne. No mean feat.


Most notable though was the striking difference from their last shows at this venue, held back in late-2007.


On Tuesday night the group, comprising frontman Mat Bellamy, bassist Chris Wolstenholme, drummer Dominic Howard, and well hidden tour-only keyboardist Morgan Nicholls delivered a tight, visually impressive display.


It was a blazing, exceedingly confident set touching on what has become an imposing back catalogue.


Staged in-the-round, as many of the bigger arena shows have been this year, there were moveable stage parts, extraordinary lighting and strobe-light rigs and, as ever, passive interaction with the audience. At one point, so intense was the extraordinary display of lights and lasers, it threatened to overwhelm the senses. That it didn't means the band have taken an important step forward.


While some of their recording output of late has been overblown and prog-rock inspired, on Tuesday night the band cut the flab, so to speak.


Their early-career hits such as Plug In Baby and Bliss were given a wide airing and mixed well with later smashes Starlight, Hysteria, Knights of Cydonia, Time Is Running Out, Supermassive Black Hole and Uprising.


Undisclosed Desires, the excellent single from last year's blockbuster album The Resistance even gave Bellamy the chance to utilise a key-tar.


Although hardly renowned for their on-stage camaraderie — Bellamy, ever the egoist, rudely cut-off drummer Dominic Howard when he was thanking the support act — the band at least seemed to enjoying themselves.


And a near ecstatic audience clearly felt much the same way.






Muse are at the peak of their career. Since forming in 1994 and releasing their debut album in 1999 this has been a band that has consistently kept getting better.


Last night at Rod Laver Arena in Melbourne Muse put on one of the greatest shows on Earth.


Forget the U2 claw circus set, Muse put on a better show for a fraction of the cost. Their set was one of the most elaborate indoor sets ever seen. The laser light show pushed them into Pink Floyd territory and the songs are all with substance.


The audience loved this band, this show and knew every song.


From the opening song ‘Uprising’ through to the signature closer ‘Knights of Cydonia’, the Muse show had a consistency and quality equal to any band you may have seen before. I can only image where the next level for this group will be.


Singer and guitarist (and occasional keyboard player) Matt Bellamy was the bands token rockstar in this mirror suit while the musical camaraderie of Christopher Wolstenholme on bass and Dominic Howardon drums built up a sound that sounded more like a rock orchestra than a three-piece. This band had the power of Queen and the passion of Radiohead rolled into one.


An interesting interlude while Bellamy changed instruments was an instrumental of ‘House of the Rising Sun’ with the audience supplying vocals.


An added nod to opening act Biffy Clyro as well. The audience was into both bands.


The Muse setlist from Rod Laver Arena, December 14, 2010 was:




We Are The Universe (intro)

Uprising (The Resistance, 2009)

Resistance (The Resistance, 2009)

New Born (from Origin of Symmetry, 2001)

Map of the Problematique (from Black Holes and Revelations, 2006)

Supermassive Black Hole (from Black Holes and Revelations, 2006)

Hysteria (from Absolution, 2003)

Nishe (Unintended b-side, 2000)

Citizen Erased (from Origin of Symmetry, 2001)

United States Of Eurasia (The Resistance, 2009)

Sunburn (from Showbiz, 1999)

Helsinki Jam (interlude)

Undisclosed Desires (The Resistance, 2009)

Time Is Running Out (from Absolution, 2003)

Starlight (from Black Holes and Revelations, 2006)

Plug In Baby (from Origin of Symmetry, 2001)




Exogenis: Symphony, Part 1: Overture (The Resistance, 2009)

Stockholm Syndrome (from Absolution, 2003)

Knights Of Cydonia (from Black Holes and Revelations, 2006)




Herald Sun:

IT'S been a fascinating ride watching the rise and rise of Muse.


Back in the day they played at the Evelyn. This January they headlined the Big Day Out.


The year has now been book-ended with Muse gigs, with two Rod Laver Arena shows to finish things off.


Last night's excellent sold-out show continued the British band's trajectory of getting more and more immense, and not just volume-wise.


Bigger staging, bigger audiences and bigger songs.


Playing in the round, the trio were elevated on podiums and filmed from every angle on a legion of huge screens.


Last year's album The Resistance finally officially broke them into the mainstream here and in the US.


Singles Uprising and The Resistance kicked off a relentless assault on the minds and eardrums, taking in favourites like Hysteria, Starlight, Undisclosed Desires and Supermassive Black Hole as well as album highlights Map of the Problematique and New Born.



Related Coverage

Video: Muse in stage spectacle

Echoes of greatness in Muse spectacle

The Australian, 8 days ago

Musing on international success

Courier Mail, 10 days ago

Q&A: Matt Bellamy of UK band Muse

Herald Sun, 1 Dec 2010

Keating played Mahler and we walked away

The Australian, 30 Nov 2010

Bieber beats mentor to honour

Courier Mail, 22 Nov 2010


Frontman Matt Bellamy, in a mirrorball suit, also got to channel his inner Freddie Mercury again on the highly theatrical United States of Eurasia.


Muse, with Scots-rock openers Biffy Clyro, play Rod Laver again tonight.



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Awesome reviews and the part about muse putting on a better show than U2 for a fraction of the cost is SO TRUE

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Although hardly renowned for their on-stage camaraderie — Bellamy, ever the egoist, rudely cut-off drummer Dominic Howard when he was thanking the support act — the band at least seemed to enjoying themselves.

That seemed to happen a few times. I'm still not sure whether he did on purpose or not. :LOL:

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It was hilarious when that happened, Dom was just like "Oh. Okay." while Matt and Chris were laughing :LOL:

:LOL: I missed them laughing, I'll see if I can find again on Youtube.


Take 40:

Muse have been roaring round Australia for the last week or so, and by all reports putting on the 'must see' gig of December...so by the time they rolled into Melbourne, my expectations were pretty freakin' high!


For those of you who like a short read: Muse, live, are god damn awesome...for those who want the details read on.


As soon as the covers dropped and revealed the three members of Muse on massive podiums, you had the feeling that it was going to be a super high energy, technologically savvy and generally epic performance. Kicking off with 'Uprising', those in the seated sections were soon upstanding and remained that way for the rest of the 2 hour concert.


Fans who have been with the band for their 5 studio albums were treated to old favourites 'New Born', 'Plug In Baby', 'Bliss' and 'Time Is Running Out'. Whilst fans who jumped on the Muse bandwagon since they hooked up with 'Twilight saga' would have been left more than satisfied with epic renditions of 'Supermassive Black Hole' and recent singles 'Undisclosed Desires' and 'Resistance'.


Watch Muse's classic video 'KNIGHTS OF CYDONIA' here!


The three members of Muse Matt Bellamy (vocals, lead guitar, piano), Chris Wolstenholme (bass, backing vocals) and Dom Howard (drums, percussion) and quite simply musical freaks. From Chris and Dom's 5 minute jam half way through the concert, to Matt's phenomenal piano skills, even non-Muse fans would have been seriously impressed with what was on show.


The' finger point' to Muse fans, is what the 'diamond in the sky' is to Kanye West and Jay-Z fans...and boy was there a lot of finger pointing which please front-man Matt to no end. Come encore time, where Muse ended with the traditional 'Knights Of Cydonia', there was pretty much a riot in the mosh pit.


'The Resistance' tour is part rave, part massive rock show, part night at the opera...if there are any tickets left to the Perth show do yourself a favour, you will not be disappointed.


Review by Kate Yencken


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Does this Andrew Murfett fellow has a grudge against Matt or something? Last time he reviewed Muse in 2007 he also called Matt an egotist, and he never fails to bring up Radiohead whenever he writes about the band.


Yes, he doesn't exactly sound like his biggest fan :chuckle:

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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.



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I don't think this was posted. Not really a review, however...


ROD Laver Arena officials have given rockers Muse a rap over the knuckles after they were caught lighting up on stage.


The Black Holes and Revelations trio was hauled over the coals by stadium bosses after bassist Christopher Wolstenholme smoked two cigarettes on stage during their final gig in Melbourne.


Rod Laver, like all indoor venues in Australia, has a strict no-smoking policy.


Wolstenholme tried to hide his puffing at first, lighting up for a few quick puffs while dry ice smoke poured over the stadium.


But he later dragged on a cigarette in between songs, infuriating bosses and security.


"Officials spoke to the band before and after the show and we were extremely disappointed when they decided to flaunt our strict no-smoking policy," Rod Laver spokeswoman Jo Juler said. "They are known as an anti-establishment style of performance group, but it was still sad that they decided to go ahead regardless."


Muse were also rapped for encouraging fans to "mosh out" -- in direct violation of security rules.


Link: http://www.heraldsun.com.au/ipad-application/muse-cop-a-caning-over-ciggies/story-fn6bn80a-1225972362987


Chris is such a troublemaker. :chuckle: And if Muse were really encouraging people to "mosh out", I'm guessing it was just to wind up the security guys.

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I don't think this was posted. Not really a review, however...




Link: http://www.heraldsun.com.au/ipad-application/muse-cop-a-caning-over-ciggies/story-fn6bn80a-1225972362987


Chris is such a troublemaker. :chuckle: And if Muse were really encouraging people to "mosh out", I'm guessing it was just to wind up the security guys.


Didn't Dom say something about it not being a tennis match re the moshing. So yes, three naughty English boys. :chuckle: Are Australians very prim and proper or something?

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I don't think this was posted. Not really a review, however...




Link: http://www.heraldsun.com.au/ipad-application/muse-cop-a-caning-over-ciggies/story-fn6bn80a-1225972362987


Chris is such a troublemaker. :chuckle: And if Muse were really encouraging people to "mosh out", I'm guessing it was just to wind up the security guys.

Dom did tell tell people to ignore the "don't mosh" signs...




About 40sec in ;)

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