Live in Montreal 2005
THE VIDEOS COLLECTION
Nin.com video report (non spiral version)
christelleFv Videos concert page
demon5un google video page
ryan video page
THE REVIEWS COLLECTION
Nine Inch Nails serve up raucous dose of rock
Rock fans were treated to a hefty triple-bill at the Bell Centre on Friday night, but when headliners Nine Inch Nails took the stage, there was no doubt whose gig this was.
More than 15 years into his career, frontman Trent Reznor can still put on a show like no other. It took little time on Friday night for him to prove to the 10,500 fans in attendance that he meant serious business.
The thrilling, dramatic and truly rocking tone set in the first few songs would last throughout the night. It started with Love Is Not Enough, off this year's With Teeth album.
An enormous, sheer curtain separated band from audience. Syncopated drum beats were matched by stark, erratic lighting (offering glimpses of silhouetted band members), menacing guitar and bass lines, and Reznor's pained wail. Suspenseful and gripping.
Curtain up, and we were into the industrial punk frenzy of You Know What You Are?, another new one, with its heavyweight, electro-sludge-metal chorus, and Reznor screaming: "Don't you f--king know what you are?"
Smoke, swerving spotlights, mayhem. Dipping back to 1989, for the stunning Terrible Lie, his feat was complete. Reznor was rocking the arena like it hasn't been rocked this year - with pomp, potent theatricality and breathtaking conviction.
The staging changed with every song, mostly by way of the spectacular lighting and an abstract cityscape backdrop. The spectacle was mere accompaniment to Reznor, whose urgent performance held everything together and pushed relentlessly forward.
When he raised his arms for handclaps in the bracing techno of March of the Pigs, the entire crowd joined in eagerly. The melodic, a capella chorus offered temporary reprieve, but when the music kicked back in, so did the madness - band members jumping, lurching and running about, Reznor leading the way.
On Closer, next, it was sexy, nightclub dance-pop circa 1994, with the provocative chorus: "I want to f--k you like an animal," and a monstrous beat that would make Fatboy Slim jealous.
The curtain came back down for a three-song interlude, culminating in the existential ballad Right Where It Belongs, projections showing everything from wildlife to a ballroom-dancing George Bush.
Trent Reznor's singular artistic vision has long made him one-of-a-kind. On Friday night, he showed that, despite extended waits between albums and the potentially dated appeal of his music, he hasn't lost touch with his audience or his primary purpose - to engage, and enthrall.
Toronto's Death From Above 1979 began the night with an all-out rock-out that recalled the tag-team antics of another rollicking duo recently seen at the Bell Centre - the White Stripes. On drums and vocals, and bass and keyboards, respectively, Sebastien Grainger and Jesse F. Keeler brought a raw, raging dance-punk storm that got everyone's attention.
The alt-rock might of Queens of the Stone Age has never been in question. And while it didn't have the party tricks of the opening or closing acts, the band impressed with its heavy, driving jams.
© The Gazette (Montreal) 2005
Le dimanche 13 novembre 2005
Deux heures, 22 chansons, pas de rappel: Trent Reznor, l'homme derrière Nine Inch Nails, avait alors tout dit, tout donné, avec force sonore et visuelle. Ajoutez à cela deux impeccables groupes en première partie- Death From Above 1979 et Queens of the Stone Age- et vous pouvez considérer le concert de vendredi soir dernier comme l'un des meilleurs de l'année 2005, point barre.
Des rideaux opaques cernaient la scène lorsque les lumières se sont fermées, annonçant l'arrivée imminente de Reznor et ses collègues. La foule était belle à voir: tous briquets allumés, les fans saluaient NIN.
La guitare valse
Et ça brassait pas mal sur cette scène comprimée par la structure métallique supportant les éclairages, qu'on avait abaissée à un mètre de la tête des musiciens. À la gauche de Reznor, le guitariste Aaron North, dont on retiendra d'abord le jeu théâtral au possible: lorsqu'une note est suspendue, le musicien fait valser sa guitare autour de lui, truc qu'il répétera à satiété au cours de la performance. Il aime aussi donner des coups de pieds sur son ampli, le North, alors que Reznor ne semble pas vraiment aimer les pieds de micro. Ceux-ci passeront un bien mauvais quart d'heure sur la scène du Centre Bell. Dès la troisième chanson, Reznor fracassait sa guitare sur le pied, avant d'aller s'en chercher une autre toute neuve et prête à être brutalisée.