Rage Against the Machine, Muse, kill it at LA Rising

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Written by Janine Zuniga

Monday, 01 August 2011 08:19

Passion broke the silence as five avid and brilliant artists, such as Muse, take their place alongside Rage Against the Machine in a musically diverse festival called L.A. Rising at the Los Angeles Memorial Coliseum on July 30.

From 3 p.m. to an encore by Rage Against the Machine, L.A. Rising did their job trying to promote awareness for causes such as war, immigration, poverty and labor. Each artist had a little to say about what irks them as did the various video clips on the side screens of the stage about these issues.

All the same, the collection of music surpassed an expectation of a festival. El Gran Silencio, a Spanish-rock band kicked off the heated July afternoon. Felipe Coronel, better known as Immortal Technique, followed with support for El Gran Silencio. Even though it could have seemed as if his set was more talking than rapping, one could clearly see Immortal Technique’s passion in support of United States troops overseas. Though, it didn’t stop him from making jokes about the “broke-ass people” in the nose-bleed seats of the coliseum.

And if it appeared that more men than women packed the rails separating the crowd from the stage, it was more than likely because Ms. Lauryn Hill was about to make her presence. Unfortunately, Ms. Hill was about 20 minutes passed her set time and provoked a chant calling out for her to “hurry up.”

Her rendition of “Killing Me Softly with His Song” led in her set, as did the constant microphone malfunction. The crowd was tranquil with a handful of audience members singing along or waving their arms, but most of the action came from the breech in security from the second to the first general admission field. However, Hill’s performance was still adored as she conducted her band with a black towel she held in her hand the entire hour set ending with the much recognized single “That Thing.”

When Rise Against took the stage, mosh pits formed and was aggravated when vocalist Tim McIlrath claimed he could “See the crazy in your eyes.” From songs like “Help is on the Way” to “Savior”, the crowd did not stop once it started. While few began body surfing their way to the front, this was only a taste of what was to come.

Also I have to add, and correct me if I’m wrong, but I was almost certain that Rise Against played “Ready to Fall” twice. But it could like many others, the heat that got to me. In any case, it didn’t stop the crowd from pushing and shoving each other.

Between Rise Against to Muse’s set up, the crowd was antsy and definitely ready to jump for more. Like most concerts and festivals, before a band performs there is usually some sort of music playing to entertain the ears. And it just so happened that a particular song appealed to the masses in a surprising way.

System of a Down’s “Chop Suey!” began playing and the crowd as one started singing. It couldn’t have been more than 30 seconds into the song before a much larger mosh pit was created than that during Rise Against. And even though the song was cut off, the crowd continued to sing into the chorus in harmony.

But the energy was not lost. Almost simultaneously, as the sun went down, Muse rose from the dark while the audience roared. Not only was Muse’s performance recognizable with each song a hit, the smoke and laser show enticed the senses and evoked the drama. Even when vocalist Matthew Bellamy played “Butterflies and Hurricanes” on the piano center stage, the theatrical sounds of a piano was hidden behind a wall of smoke but still exposed itself on the side screens.

And from the stands, the audience could have been entertained by the audience in the general admission field if familiar with Muse’s music video for “Stockholm Syndrome”. In the music video, the people running around suddenly stop what they’re doing to sing along with Muse while raising their hands in the air and slowly moving forward before running around in haste again. What seemed almost accidental, a mosh pit of people running around in circles suddenly calmed itself when Bellamy began to sing the chorus while raising their hands mimicking the video. It was truly a group of people who love Muse and can be recognized for it.

The topping of this Muse cake was in the form of giant eyeballs. Before ending their set, Muse released giant balloon eyeballs filled with confetti during “Plug In Baby”; a creepy yet well-suited touch to the evening.

Muse may have been the topping, but Rage Against the Machine was definitely the cherry. Sirens alarmed the crowd as a large red star rose from the behind the stage. The entire festival and its intentions were absolutely reflective of Rage Against the Machine once they opened with “Testify”.

The mosh pits were larger; the crowd was louder; and stands stomped harder. There was no denying the influence Rage Against the Machine had. Even cardboard signs where passed around with information against the governmental salaries. And at the very top, right across from the stage, one person held up the Mexican flag. Even the heat from the passionate ones came in the form of various fires in the field and one up in the stands.

Rage Against the Machine ended their show with a three-song chorus before releasing their followers to continue to fight in the struggle. Another festival like this with a message could not be more awaited.