Psycho/Drones General Tour Discussion Thread

[nkdmtro93]

Sorry mate, I thought there was a discussion for it, my bad if I thought incorrectly.

[Nigel_Tufnel]

The Detroit concert that I attended apparently started a bit late, probably due to being the second half of back-to-back nights with the Chicago show. Their solution to the late start was to chop the piano song from their set. Of course, they still made time for Prelude, JFK, MWAH and both playbacks of Dronezzz. That's just laziness in my opinion.

 

Add to that...

...a 100-minute, by-the-numbers, rarity-free set

...mostly malfunctioning orb drones

...a Reaper drone that literally fell apart and crashed into the crowd

 

It was an OK concert but pretty disappointing and uninspiring in the end. They should be happy that several thousand people paid good money for that.

[serpentsatellite]

If a band feels like 10k isn't enough for them to bring their A-game, they're delusional and have lost touch with reality, and deserve no defence whatsoever.

 

This, so much. I think it's pretty sad that someone would believe it's okay for a band to be pissy playing to 10k people, because they're "used to" 50k a night.

Playing to that many people isn't a function of how long the band has been around, or even really hard work or talent. Not saying Muse doesn't have all three of those on their side, but they've also been really fucking lucky to get where they are today, and most bands would kill for what they have, 50k or 10k. Or shit, 5k.

How many bands are playing to those sorts of crowds nowdays? Not very fucking many.

 

Anyways, I don't think that's what they hate about the US crowds, based on the things they've rather outspokenly said...

 

That's what I don't get, they got to where they are now by playing music that blew people away.

 

I think the problem lies here. This statement isn't really true for the US; at all.

In the span of 5 years, Muse went from depriving the US of OoS because they wanted to stand their ground on musical integrity (allegedly) to - whether people like to admit it or not - completely selling themselves out here, and quickly becoming "that Twilight band," with massively increased commercial success.

 

And they followed up this success by putting out what I've always felt was their most commercial album to date (TR,) where the band deliberately moved away from what had made them a little more special, but a lot more inaccessible to our audiences, into making songs that were more commercially viable, and dealt with subjects that were less personal, and more "relatable" to their audience (basic love songs, and generic anti-establishment/anti-1% rhetoric.)

To be more obvious, looking at their political songs, looking at stuff like RBS, TaB, CoD, in comparison Uprising looks like an anthem for the credits of another tween movie. Maybe it's not entirely a coincidence that by album release the YA landscape was shifting from the paranormal to the dystopian obsessions.

But, the album was clearly meant to be accessible, and again, it worked here.

 

If Muse is familiar for "blowing people away" I would say yes, but only when it comes to the live spectacle, which they are also widely praised for as one of the last "big arena shows" out there, not for anything special musically they've done in the US.

 

Sad? Sure, to me. But, it certainly worked for them financially, and again, it would be perfectly fine (although offputting to me personally, but that's not what matters there,) until the band turns around and bites that hand that feeds.

 

and have pretty outspokenly blamed the audiences for the shitty sets.

 

Which leads to, since at least '12 that I can personally vouch for, the band bitching about the audience here that doesn't know their old material (some of which they refused to release here, remember) and "forces" them to play pop heavy hits fests.

While, at the very same time, acknowledging that they have "hardcore" fans here still (both in regards to the small gigs, and the arenas) but are unwilling to give up the big stage shows (and the money and "best live band" title,) and yet simultaneously unwilling to play even one song for their dedicated fan base, because apparently they "hate when not everyone sings along." Which is honestly pretty petty.

So... who the fuck DO they like playing to...?

 

It largely just seems they are taking out their personal hang ups on our entire country at this point. Like, maybe they're mad about what they "had to do" to gain their popularity here, and instead of realizing they CREATED this audience, being resentful to everyone here.

Everyone who spent money and time to be at the show in the first place. I find it unbelievably shitty of the band to openly trash their audience while at the same time making around a million dollars a night off of them.

 

Either play the gigs that you want, risk alienating the crowd that you dislike anyways, and playing smaller gigs, or shut up, put full effort into your gigs, and be respectful.

[serpentsatellite]

This always pisses me off. Not all of us have the time to queue all night to get that close, it doesn't mean we're 'lesser' fans.

 

This also pisses me off.

Just because you were lucky enough for Muse to play in your city, that demotes you from being "hardcore?" Or being privileged enough that you could make the time and the money to see a dozen gigs or queue all day is the only way to be a "real" fan of the band? Seriously...

I've quite probably been a more dedicated, longer term fan than a lot of the people who do those things, not to make it a competition. Which it shouldn't be.

I just, you know, have pressing real life concerns... like a job I can't afford to lose, hefty bills and mortgages, and pets that refuse to eat when I'm not home, as well as another person who relies on me to help with the bills instead of gallivanting around the country watching the same Muse gig over and over.

And more recently, staggering medical issues and bills.

Sorry, I guess I'll turn in my hardcore card.

 

The Detroit concert that I attended apparently started a bit late, probably due to being the second half of back-to-back nights with the Chicago show. Their solution to the late start was to chop the piano song from their set. Of course, they still made time for Prelude, JFK, MWAH and both playbacks of Dronezzz. That's just laziness in my opinion.

 

Add to that...

...a 100-minute, by-the-numbers, rarity-free set

...mostly malfunctioning orb drones

...a Reaper drone that literally fell apart and crashed into the crowd

 

It was an OK concert but pretty disappointing and uninspiring in the end. They should be happy that several thousand people paid good money for that.

 

That actually isn't entirely true.

The piano riser failed, making it so they couldn't play the piano song on the setlist. Maybe due to the back to back nights, but they clearly had serious technical problems at other gigs, too, and very few at DC, the other back to back gig.

They also started late in DC and Philly, neither due to issues with set up; Muse is just typically fashionably late, I've noticed. Even happened during the webcast festivals last year.

And they continued to play a one song shorter set in every US city right before and after Canada, except for DC, regardless of technical hang ups.

 

Apparently the crowd also ripped that black drone apart when it came too close to them.

 

I guess Matt did say he felt bad about the Detroit show in particular, but only due to the technical failures.

[kueller]

Sorry mate, I thought there was a discussion for it, my bad if I thought incorrectly.

 

It's just kinda redundant salt in the wound. The trend's been seen for years, maybe more obvious as time went on. But it's hard to fight against when the majority of the crowd will be in opposition.

[Nigel_Tufnel]

 

That actually isn't entirely true.

The piano riser failed, making it so they couldn't play the piano song on the setlist..

 

OK, maybe the piano riser failed. So then play a different song. Would anybody complain if they had to hear Citizen Erased instead of USoE?

 

Simply cutting the song knowing most people wouldn't notice anyway is still just laziness.

[DifferentPerson]

OK, maybe the piano riser failed. So then play a different song. Would anybody complain if they had to hear Citizen Erased instead of USoE?

 

Simply cutting the song knowing most people wouldn't notice anyway is still just laziness.

 

They'd still need the piano to play Citizen Erased.... but yeah, no reason why they couldn't have played another song to make up for the lack of piano song.

[Nigel_Tufnel]

They'd still need the piano to play Citizen Erased.... but yeah, no reason why they couldn't have played another song to make up for the lack of piano song.

 

True enough but you get my point. An even better opportunity to play a real rarity.

 

Out of curiosity, what did Matt use for the final section of The Globalist at most shows. In Detroit, there was a keyboard on the stage?

Edited February 22, 2016 by Nigel_Tufnel

[serpentsatellite]

OK, maybe the piano riser failed. So then play a different song. Would anybody complain if they had to hear Citizen Erased instead of USoE?

 

Simply cutting the song knowing most people wouldn't notice anyway is still just laziness.

 

No, seriously that's absolutely a good question. And the band seems to think the answer is "yes" for some reason.

But, I guess I see a difference between cutting the song because they started late and cutting it because of a malfunction and not adding another one on the fly, which I guess could have been more stressful because of all the rigmarole that goes into the stage show.

 

As for the rarity... that's the crux of the problem in the first place. It was never going to happen, especially spur of the moment. There were at least two gigs where the band actually removed a "rare" song that they'd been playing at other gigs (Bliss crossed off the setlist in Oakland, and the CE request at Barclays) at the last minute.

And Glen told that group of "hardcore" fans that the band "hates playing those old songs when the entire crowd doesn't sing along."

They likely just didn't have a "crowd pleaser" that they could shove in there.

[Nigel_Tufnel]

They likely just didn't have a "crowd pleaser" that they could shove in there.

 

Yeah, it's a sad state of affairs when a band with 7 albums didn't feel like they have a crowd pleaser for 10,000 people who just paid a lot of money to see them.

 

Besides, if they're worried about sing alongs, then I'm not sure why they're plodding through ten minutes of The Globalist.

Edited February 23, 2016 by Nigel_Tufnel

[Dominic.]

Personally I'd take this ( https://www.instagram.com/p/BA_fIlEnwlY/ ) as more of a challenge than a couple dickheads on Twitter complaining about the headliner while also getting hyped for Asking Alexandria or whatever playing the night after.

The light show isn't doing any mad favours either there bit static enit

Besides, if they're worried about sing alongs, then I'm not sure why they're plodding through ten minutes of The Globalist.

 

because #drones

[serpentsatellite]

Yeah, it's a sad state of affairs when a band with 7 albums didn't feel like they have a crowd pleaser for 10,000 people who just paid a lot of money to see them.

 

Besides, if they're worried about sing alongs, then I'm not sure why they're plodding through ten minutes of The Globalist.

 

I have asked myself that since the tour started.

I just didn't want to write it out, lest someone associated with the band pick that exact day to peruse the board, leaving with the awesome idea to drop The Globalist in favor of playing both Resistance AND UD, and going home even earlier.

Because it was hands down the best part of the gig by a wide margin.

 

None of the Drones songs really went over that well, from what I saw, tbh, comparatively.

Psycho got a lot of energy just because it was the opener. Mercy got a big response because, well, who doesn't love flailing around in confetti men?

 

But it didn't feel like everyone really knew the words or anything, and I didn't see much of a difference between them and CE. Other than they obviously didn't have any lights for CE and it was just sort of super dark.

I thought Map appeared to be the least known song of the set, too, and they played that one at a lot of gigs.

 

I didn't really see where the line would be drawn between the new stuff, stuff like Map/Eurasia/AP, and having a hissy over Bliss and CE.

I still feel bad about that guy who got the green light on CE at Barclays that didn't happen.

 

Resistance, Uprising, Madness, Starlight, and (surprisingly) TiRO the crowd was deafening. The band's shortsighted 360 sound system didn't stand a chance, and I couldn't hear anything other than drums from GA.

People were really into SMBH, but they weren't really singing... because well, you really can't.

Sadly The Globalist was the one that people got seriously antsy and talky during.

They had no problem standing through 3-5 minutes of a song they didn't know, but TG is a bit long as fuck.

The crowd was into the gig; we're just not a jumpy crowd country. It just feels like the band has a certain idea of how they want us to act, and that's frustratingly infeasible.

[Nigel_Tufnel]

I thought that the crowd became the most alive and enthused when they had a chance to punch a Hullaballoon. The same thing happened when some big balloons were tossed off the stage at my son's preschool Christmas program. I guess big balloons are just awesome that way.

 

Makes you wonder why bands spend millions of dollars on elaborate light shows.

[serpentsatellite]

By the end of the Philly gig, it felt like people had seen all the "gimmicks" already (Mercy did get them going again,) and people were already starting to talk about some pop star's gig where she was suspended on wires running around the balconies or something, and realizing this wasn't the "biggest" stage show they'd seen.

 

I think in that respect, leaving the bigguns like Madness and Starlight and Resistance until later in the set was a good idea; allowed the audience to see all the schtick and get their energy out during songs they didn't know as well, and by the time the visuals got "old" the band was playing the songs they actually cared about.

I'm sure it was a very calculated placement, for the most part.

Interestingly, the "dud" of that section of the set was Reapers, which I don't know why they moved from the beginning of the set.

[heyjackk]

Never understood why people queue, tbh . It's not hard to get to the front of shows - and being on the barrier itself is torture.

 

I like queueing for bands that I really like, kinda just adds to the experience for me I guess.

[TheHappySpaceman]

They considered Drones to be their return to straight-forward, stripped-down rock after all the pop and orchestral experimentation of the last couple albums. Unfortunately, the tour has leaned more toward the pop side of things.

 

Who knows where they'll go next? I tend to believe it will be away from a rocking sound because they feel that they've just done that.

 

Hmm. Well, that may be the case, but I can always dream, right?

 

(If Muse does go industrial in a future album, let's hope that they work with Trent Reznor for the production.)

[PanosBonJovi]

Today there will be an official statement by the band and the promoter of Ejekt Festival where they'll announce the new pre-sale date for the Athens' concert on July 23rd, 2016.

[Bumpypotato]

They considered Drones to be their return to straight-forward, stripped-down rock after all the pop and orchestral experimentation of the last couple albums. Unfortunately, the tour has leaned more toward the pop side of things.

 

Who knows where they'll go next? I tend to believe it will be away from a rocking sound because they feel that they've just done that.

 

I can see them moving away from a more traditional rock sound (honestly I hope that they do), but that doesn't put heavy out of the picture.

[BlueEyedFloozy]

(If Muse does go industrial in a future album, let's hope that they work with Trent Reznor for the production.)

 

[Hat]

As I've said many times before, I've never heard Trent produce anything that doesn't end up sounding like NIN, which is not something I want for Muse. He's basically a guy who, when he's put in a studio, applies his method on it. Basically "guitars should sound like this", "drums should sound like this", with little attention to what's being made. At least based on the stuff I've heard from him.

[kueller]

I'm still not entirely sure what effect the producer will have on their consistency seeing as they seem to have gone into making Drones with the mindset of making something more standard rock all the way through.

[BlueEyedFloozy]

As I've said many times before, I've never heard Trent produce anything that doesn't end up sounding like NIN, which is not something I want for Muse.

 

I'd love it Maybe not for a whole album but just a couple of songs.

[ryanp16]

As I've said many times before, I've never heard Trent produce anything that doesn't end up sounding like NIN, which is not something I want for Muse. He's basically a guy who, when he's put in a studio, applies his method on it. Basically "guitars should sound like this", "drums should sound like this", with little attention to what's being made. At least based on the stuff I've heard from him.

 

Matt: "So I've got this idea -"

 

Trent: "That's fucking stupid! *smashes guitars off of mixing desk* Matt, you're out! Atticus Ross! Get in here now and lay down a synth loop! Dom, get the drum machine. Run it through as much distortion as you can. Chris, do whatever the fuck you want."

[Hat]

[BlueEyedFloozy]