Corrie Innes reviews
by Sam Howzit
Muse are ridiculous. The knack to loving them is to accept this. Take Matt Bellamy and co. too seriously and you’ll want to head-butt them every thirty seconds until the end of time. But if you accept them for what they are; if you stop taking their claims about a new world order and the Illuminati too seriously, start learning their choruses and then proceed to go absolutely mental to some of the best riffs of the last two decades in Glasgow’s best (and sweatiest) venue, then you’ll understand why Muse are so devotedly followed.
New track ‘Psycho’s’ crunching riff and Marilyn Manson-esque chorus (about brainwashing in the military, obviously) set a precedent, opening a set of greatest hits and fan favourites which leant towards the heavier end of their back catalogue. Early single ‘Uno’ and rare B-side ‘Agitated’ sat alongside established mega hits like ‘Starlight’ and ‘Supermassive Black Hole’ as Muse dropped a set almost surgically designed for the fans. Indeed, late era Muse found themselves neglected almost completely: the sumptuous ‘Animals’ was the only track from their last effort to make the cut, and six minute chorus machine ‘Uprising’ was the only representative from ‘The Resistance’. The latter track wins the award for ‘most Matt Bellamy moment of the night’, being dedicated to ‘all the Yes voters’ in the crowd. We all know that Muse are a brilliant, outstanding band when they get dramatic and proggy (a resplendent ‘Knights of Cydonia’ was, as always, a live highlight), but Monday night was a reminder (if it was needed) that stripped back, scrappy, feedback laden, angry, angsty and heavy Muse are a force to be reckoned with. It’s just a shame that Muse seem to forget this so much. But with Drones touted as a return to their heavier early sound (utterly disappointing lead single ‘Dead Inside’ ignored), ‘Psycho’ as a clear statement of intent to that effect, and this hard rocking mini-tour as an opening salvo, one can only hope that this new old Muse are here to stay.
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