It is not often that one goes to see a favorite band with the lowest of expectations. Tool comprises of four of the most versatile and proficient musicians of our time; Maynard James Keenan, Justin Chancellor, Adam Jones, and Danny Carey unquestionably excel not only as a musical ensemble, but on distinctively technical levels as well. Unfortunately though, over the years Tool has relied on repetition more than anything else. Their shows, while continually impressive in terms of both music and visuals, are often plagued by virtually identical setlists year after year, as well as Keenan’s discernable apathy during every performance.
It was almost worrisome walking into the Air Canada Center on January 25th and observing that the venue was mostly crowded with long-time fans of the band, now into their early 30s, speaking of the “better” Tool show they saw in 2002. With an opening band that merely revisited the ‘90s with a fine yet nonessential sound, and as dated industrial music played over the speakers subsequent to that performance, it was almost inevitable to expect a lifeless show that merely revisited a better, more artful period of an assuredly still artful yet uninspired band. Then the band took the stage and all those worries disappeared almost instantly.
For the first time in 13 years, the familiar sounds of Hooker with a Penis inhabited the massive Air Canada Centre with Maynard heartily pouncing at the microphone. They weren’t opening with Jambi this time; certainly a much-needed change of pace. The unwavering audience sang along, rightfully acknowledging this special occasion. For years it had felt like the band was purposefully withholding certain songs from the audience, but as Hooker with a Penis raged along, so did the crowd’s exhilaration. This unexpected amendment to the setlist surely meant much to a fanbase that would have more than happily obliged to a Tool show they had seen before.
“Thank you… and good night!” the usually muted Maynard teasingly said to the crowd when the song ended, signaling the odd yet triumphant combination of humor and musical conscientiousness that was to subsist throughout the night.
When Jambi followed, it brought with it a new meaning. It was no longer the tired and over-played opener, but instead took the form of the excellent song that it unquestionably is. “Here from a king’s mountain view,” sang Maynard with flawless presentation, as each member of the band complemented the other with masterful instrumentation. The much talked about “democracy” that pervades Tool’s sound shines in this live setting, especially when they are all as inspired and impassionate as they have been on this tour. They are equals in every sense, each with their own specific expertise, and each demanding the other’s ability to carry the music forward.
Just when it seemed that the band had reverted to their previous and less demanding routine, and after a dispiriting false start to Ticks and Leeches, Tool launched into an impressively heated rendition of Sober, another song the crowd had longed to hear for many years. Even so, it was the disconcerting dissonance of Pushit that downright startled the audience – this was yet another song that had been untouched for nearly 10 years.
A meditative although under-appreciated performance of Intention briefly silenced the still-animated audience, whose chatter gradually intensified irrespective of the terrific song’s advancement. The lights and lasers of Lateralus soon followed, featuring an explosive drumming tussle between Danny Carey and an excellent drummer merely introduced as “Chris”. For several minutes thereafter, the arena went dark and brooding drones seeped through the venue, vibrating and often evoking sounds reminiscent of Meddle-era Pink Floyd, as multi-colored beams of light drifted past the somewhat intolerant crowd. Their patience was rewarded with two other gems from the Tool catalogue: Parabola and Ænima, the last two songs of the set, both performed with deafening ferocity, culminating the two-hour set with extraordinary dynamism.
Considering that Tool is already in the midst of recording their first album in over half a decade, this string of live shows can perhaps be viewed as a celebration of the band’s earlier catalogue as they bid it farewell in anticipation of a newer and more novel sound. Tool’s persistently spectacular performances during the course of this current tour demonstrate that this band is still capable of sonic richness and ingenuity. As long as they transfer this very same vigor and urgency into a studio setting, there is no doubt that the follow-up to 10,000 Days could transcend even those mere fragments of inventiveness that the band hasn’t touched upon already.
Setlist:
Hooker with a Penis
Jambi
(-) Ions
Stinkfist
Sober
Pushit
Schism
Intension
Forty-Six & 2
Lateralus
Parabola
Ænima
