Marilyn Manson - Perth, 6th March 2012
Words: Deano
It was the final night of the long and truly brilliant Soundwave 2012 tour. Rumours regarding the poor quality of Marilyn Manson’s late afternoon sets across the country had been flying around and his performance the previous day had done nothing to dispel them. Tonight was the Reverend’s final chance in Australia to prove his relevance in the modern era.
While it was heartening to see Perth graced with not one but two festival sideshows, at the same time, it was disappointing to miss out on the reformed Coal Chamber play a club show, even as a support band.
Nonetheless, Wednesday 13 filled the support slot for Manson as fittingly as any band could. Their brand of horror rock visually paid homage to old misfits, with a sarcastic Ramones nod in the stage decorations. Aurally though, the band expressed an acuity far outstripping the rough approach favoured by these long dead acts. The precision displayed in their cohesive attributes indicates a stage presence not to be trifled with and an impressive performance was given.
If only Wednesday 13 himself had given less focus to the slightly cheesy audience participation, there could’ve been no fault found. Granted, they may have been an integral part of the live show and were well received by a crowd that most likely had only just been exposed to what this band could offer.
While it was heartening to see Perth graced with not one but two festival sideshows, at the same time, it was disappointing to miss out on the reformed Coal Chamber play a club show, even as a support band.
Nonetheless, Wednesday 13 filled the support slot for Manson as fittingly as any band could. Their brand of horror rock visually paid homage to old misfits, with a sarcastic Ramones nod in the stage decorations. Aurally though, the band expressed an acuity far outstripping the rough approach favoured by these long dead acts. The precision displayed in their cohesive attributes indicates a stage presence not to be trifled with and an impressive performance was given.
If only Wednesday 13 himself had given less focus to the slightly cheesy audience participation, there could’ve been no fault found. Granted, they may have been an integral part of the live show and were well received by a crowd that most likely had only just been exposed to what this band could offer.
Mired in the murky gloom of disgruntled reviews from Eastern States Soundwave performances, much has been said about Marilyn Manson being “a pale shadow of the rockstar he once was”. This trend seemed to continue at the final Soundwave in Perth, with an excessively overblown ego driving an apparent lack of desire to perform. Certain antics aimed at his crew verged on petulance, which only served to fuel disinterest from all but his most faithful flock.
In saying that though, the difference between Manson‘s festival and club shows were light years apart. While Metro City’s upper levels remained unused, a generous dose of eager fans waited eagerly, desperate to be impressed. Finally, Manson emerged from behind a billowing black roof-high curtain, to screaming adulation. Savagely launching into the venomous Antichrist Superstar, he spat with extra punch into the black brass knuckled microphone.
Between songs, Manson managed to engage well with the audience, constantly tearing for prudish jugulars in an effort to shock. This created an endearing effect; trying on various obscenities made his patter feel more genuine than the dismissive disinterest displayed at his prior shows. By all accounts, these were elements lacking from the tour until this night.
In saying that though, the difference between Manson‘s festival and club shows were light years apart. While Metro City’s upper levels remained unused, a generous dose of eager fans waited eagerly, desperate to be impressed. Finally, Manson emerged from behind a billowing black roof-high curtain, to screaming adulation. Savagely launching into the venomous Antichrist Superstar, he spat with extra punch into the black brass knuckled microphone.
Between songs, Manson managed to engage well with the audience, constantly tearing for prudish jugulars in an effort to shock. This created an endearing effect; trying on various obscenities made his patter feel more genuine than the dismissive disinterest displayed at his prior shows. By all accounts, these were elements lacking from the tour until this night.
One of the most shocking things he could do this night was to expose a display of vintage Manson. A Manson in fine form. A supposed rarity; a high calibre gig being delivered with shotgun effect. The return of Twiggy to the Manson Family seemed to have helped in rebirthing Manson’s motivation to impress his fans.
A definite highlight of the night found Manson re-expressing his relationship with, and innate fondness for, Drugs, rolling into an oozingly sleazed out rendition of Dope Show. Following this, he led into a rocking version of Rock Is Dead. A bit ironic at this point, as clearly it’s not.
Sweat Dreams found its place as a fitting climax to the night. So too did Mason’s question as to “How does it feel… To be one of The Beautiful People. Despite being nearly 12 years old, the song sounded fresh as ever.
Everyone wanted more, but Manson swaggered backstage, managing to avoid the cliché of multiple re-appearances. Houselights dashing hopes of more still would not allow any real complaints, despite the show clocking in at around 50 minutes.
If it were feasible to be guaranteed a repeat performance of this magnitude, the consensus was that all attending would definitely do so again. This show was an amazing spectacle, bearing witness to the return of the original Antichrist Superstar, laying waste to the non-believers.
A definite highlight of the night found Manson re-expressing his relationship with, and innate fondness for, Drugs, rolling into an oozingly sleazed out rendition of Dope Show. Following this, he led into a rocking version of Rock Is Dead. A bit ironic at this point, as clearly it’s not.
Sweat Dreams found its place as a fitting climax to the night. So too did Mason’s question as to “How does it feel… To be one of The Beautiful People. Despite being nearly 12 years old, the song sounded fresh as ever.
Everyone wanted more, but Manson swaggered backstage, managing to avoid the cliché of multiple re-appearances. Houselights dashing hopes of more still would not allow any real complaints, despite the show clocking in at around 50 minutes.
If it were feasible to be guaranteed a repeat performance of this magnitude, the consensus was that all attending would definitely do so again. This show was an amazing spectacle, bearing witness to the return of the original Antichrist Superstar, laying waste to the non-believers.
Much rumour has been bandied about concerning Manson’s “obvious wane of stardom” and the “inevitable demise of a rock god”. Those present at tonight’s show bore grinning witness to Marilyn fucking the critics squarely in their scuttlebutt. Extra points to him too for the unsubtle potshots at the Columbine massacre caper.
All in all, it was great to have Marilyn Manson back, albeit briefly. Although one could ask the obvious question: “Where the bloody hell have you been?”.
All in all, it was great to have Marilyn Manson back, albeit briefly. Although one could ask the obvious question: “Where the bloody hell have you been?”.