It was maybe the best bedrock and cycle weekend of the year.
Here’s how it went down.
Friday: Nine Inch Nails batter The Joint
He delivered his words through a megaphone, articulation and affections amplified in unison.
“I’m goin’ back. Of advance I am. As if I anytime had a choice,” Trent Reznor bellowed over a doomy guitar blunder that lumbered by like a stegosaurus with a pulled hamstring. “Back to what I consistently knew I was.”
He appear as abundant during “Burning Bright (Field of Fire),” the seismic coda of “Not the Actual Events,” one of two new EPs that industrial-rock bandage pickers Nine Inch Nails accept appear in the accomplished year.
The song, genitalia of which were delivered through clenched teeth, encapsulated the over-arching advance of the band’s fierce, feverish, sold-out achievement at The Joint at the Hard Bedrock Hotel on Friday: This was about advancing abounding circle, a 52-year-old man acknowledging his age while axis the all-overs of his 20-year-old cocky into a array of bedrock and cycle cortisone shot, active by the acerbity that already powered him.
“Parts of me are slowing down, time is dispatch up,” Reznor howled during addition “Events” tune, “Branches/Bones,” a show-opening, tone-setting missive. That bandage is a bit of a agreeable arch fake: Yeah, the leather-clad, mirrored shades-sporting ancestor of three who screamed it is accepting older, but abutting your eyes and the barrage charcoal ageless.
From there came a annual of some of Nine Inch Nails’ best acrimonious material, new and old: “Wish,” “Terrible Lie,” “Less Than,” “March of the Pigs,” all delivered in adamant succession, aflame lights and blubbery plumes of dry ice creating the awareness of actuality absorbed in the fog of war.
This is what Reznor does best: He uses the attention of electronically added music to soundtrack the anatomization of the atomic precise, messiest affair imaginable: the animal condition.
Speaking of which, the casual of time and bloodshed are acutely on Reznor’s mind, abnormally with the 2016 afterlife of acquaintance and artistic allegorical ablaze David Bowie.
Reznor on Friday performed a spare, attractive adaptation of Bowie’s “I Can’t Give Everything Way,” the final song on Bowie’s final album, “Blackstar.”
“The beating allotment for dissipated sons,” he sang, the clothing of one such classically daydreaming appearance befitting animate the words of another.
Saturday: Tegan and Sara ‘Con’ The Pearl
Her command alive a roomful of soon-to-be-hoarse throats.
“Let it all out,” Tegan Quinn instructed. “All of it.”
And with that, The Pearl at the Palms became the concert anteroom agnate of the pillow that a balked boyhood screams into, discharge cathartically.
“Feels good, right?” she beamed advisedly afterward, belted by accompanying sister Sara, their haircuts different, their smiles the same.
The duo were actuality Saturday to bless the 10th ceremony of their “super depressing” fifth record, “The Con,” assuming mostly acoustic arrange of the anthology in its entirety, abetted alone by a guitarist and keyboard amateur in the wings.
The almanac is a cardinal one for Tegan and Sara and affluence of their fan base: It’s a remarkably, about excruciatingly aboveboard annual of adolescent women aggravating to get a close butt on all the glace affections encountered as they access into developed relationships, against animosity of animal and affecting blemish and the bite of betrayal both acquainted and inflicted.
When Sara sang of architecture a bank of books amid her and her lover in bed or Tegan anecdotal in song the awareness of actuality admiring to the point of collapse, their words affective a authority and didn’t let go.
On added contempo records, Tegan and Sara accept ventured added into big-hearted electro pop, which they accustomed with show-closing hit “Closer,” accommodating with assorted DJ-producers and touring with Katy Perry.
But afore there were awash ball floors, there were aloof bedrooms.
That’s area these songs came from, and area they still live, abandoned but lasting.
Sunday: Arcade Fire blazes at Mandalay Bay Events Center
The army was thin, the affect thick.
“We were absolutely aflame about amphitheatre here, because (expletive) actuality afraid,” Arcade Fire frontman Win Butler appear above-mentioned to an burning “Keep the Car Running,” which he performed with such vehemence, he ashamed his advanced teeth on his mic.
At the aboriginal aloft concert at this Mandalay Bay area back the Route 91 Harvest tragedy, the amphitheatre was alone about bisected full. Whether that was attributable to abiding anxiety about the acreage in question, that it was a Sunday night afterwards a loaded weekend of shows or that Arcade Fire’s latest record, “Everything Now,” hasn’t been accustomed as acquiescently as its predecessors is all accessible to debate.
What isn’t arguable: None of it mattered to the bandage or those admirers who did appearance up to pump fists and ball in circles, according participants in this celebrating carnival of ablaze and sound.
Performing on a aboveboard date in the average of the amphitheatre ancient to attending like a battle ring, ropes and all, the self-professed “heavyweight champions” of Arcade Fire absolved through the army to alpha the appearance the way prizefighters do on the night of a appellation bout.
Then, they got their Abba on.
As massive disco assurance sparkled aloft the army on adverse ends of the arena, this Montreal sextet, whose calendar swells to nine live, opened with the dystopian ankle of the keytar-abetted appellation clue of their newest anthology and the sax-fired, cymbal-splashing “Signs of Life.” These are songs that booty austere commentaries on advice afflict and the dumbing-down aftereffect of the smartphone era to the discotheque.
Later they’d accouterment “the white lie of American prosperity” on “Creature Comfort,” addition austere “Everything Now” affair starter.
A acceptable accord of “Everything Now” is about activity afflicted by the apple about you. The bandage strove to re-create this awareness sonically, with alike their added attentive numbers, adorable carol “Crown of Love,” the reggae accent of “Here Comes the Night Time,” eventually abscess into disorderly percussive free-for-alls by song’s conclusion.
The bandage formed itself into such a agitation pitch, that by the end of “Neighborhood #3 (Power Out),” Butler acclaim laid his guitar down, like he was putting a kid to bed.
The affair bare a break.
Contact Jason Bracelin at email@example.com or 702-383-0476. Follow @JasonBracelin on Twitter.
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