Live-Metal.Net - Concert Reports - Marilyn Manson

It's hard to believe it's been a decade since Marilyn Manson burst onto the national scene. If you had told me after I saw them open for Nine Inch Nails at the Baltimore Arena in December 1994 that 10 years later I would be going to see them live for the 11th time, well, I'd probably be lying if I said I would have believed you.

But since then, Manson has proved to be much more than "Satan's favorite band," as they were introduced at that show those years ago. Antichrist Superstar still stands as one of my favorite albums of all time, and each subsequent release has seen the artist continue to evolve musically and thematically.

Trends have come and gone since Manson first greeted the world, and though the fanbase may have dwindled somewhat, he's still standing. The milestone best-of collection released earlier this year, Lest We Forget, shows an artist who has remained relevant for what equates to an eternity in today's musical climate. The songs, though, have always been a blueprint for the live presentation. So it was with great anticipation that I attended Manson's show Saturday night at the 930 Club, the same venue where I witnessed one of the best shows of my concert-going life (Manson in November 1996, about a month after the release of Antichrist Superstar).

New York City rockers Slunt kicked off the evening's festivities. Fronted by Abby Gennet (you may remember her as the host of a short-lived MTV rock countdown show), the band's official bio describes them as "a hard rock band's hard rock band". Plain and simple. Jagged around the edges and bursting with huge riffs from abrasive guitars held in place by a one-two punch of a rhythm section that recalls AC/DC in their Back In Black prime. Add to that a layer of girlie vocals full of rock star attitude, come-ons, put-downs, and plain ol' dirty talk that comes off sweet, tough, and sexy all at the same time. The AC/DC comparison is getting a little carried away, but they did a good job warming up the crowd for Manson. I may check out their self-titled EP, which was released just last week.

Shortly after Slunt's 30-minute set, a black curtain dropped in front of the stage while the road crew prepared for the spectacle we were about to see. During the 45-minute wait, we were treated to an eclectic mix of music, including "Rebel Rebel" and "Andy Warhol" by David Bowie, "99 Problems" by Jay-Z, "Pure Morning" by Placebo and "Hollywood"by Madonna. Now that's scary.

Soon enough, the lights went out and the sounds of a stringed version of "Antichrist Superstar" filled the venue. Then the curtain dropped, and there was Manson, wearing a dress, swinging a small chandelier and reciting "Prelude (The Family Trip)." The band, which now features former Fight/Danzig guitarist Mark Chaussee (replacing the fired John 5) and former Nine Inch Nails drummer Chris Vrenna (pinch-hitting for the injured Ginger Fish), then tore into "The Love Song"with nearly the entire crowd pumping their fists and singing along. The band, rounded out by Tim Skold on bass and Madonna Wayne Gacy ("Pogo") on keyboards, sounded as tight as ever as they blasted out "Irresponsible Hate Anthem," "Disposable Teens"and "mOBSCENE." To my surprise, the next sounds were the beginning of "Minute of Decay." That, though, served only as the intro to "Tourniquet," during which Manson re-emerged on stilts. After a cover of Depeche Mode's "Personal Jesus," which sounded better and heavier live than on disc, Manson broke out "Get Your Gunn," following his latest recording with one of his earliest. The song hasn't been performed live in about six years, but has lost none of its ferocity.

"Great Big White World," the first Mechanical Animals track of the night, was a nice change of pace, and judging by the crowd reaction, the next number, "(s)AINT," seems to be a favorite among the newer songs. The crowd ate up a cover of Soft Cell's "Tainted Love," possibly the best of Manson's covers, then "The Nobodies," which Manson performed in a trench coat and fedora (a la "Speed of Pain" on the Mechanical Animals tours) with confetti-snow falling all around him.

The more obscure "Diary of a Dope Fiend" served as the intro for "The Dope Show," which was followed, as usual, by "Rock Is Dead." Then it was back to The Golden Age of Grotesque and the title track from the 2003 release. Time for more crowd pleasers, and the 1-2-3 punch of "Sweet Dreams," "Lunchbox" and "The Beautiful People" delivered. The stage then went dark for a few minutes as a podium, emblazoned with the Antichrist Superstar "shock" symbol was wheeled out. Everyone knew what was to come, but the ensuing performance of "Antichrist Superstar" was no less powerful. I can't think of a better song to end the night. The eerie "Suicide Is Painless" (the theme song from MASH!) played over the PA as the fans made their way outside.

It truly was a greatest hits show for Manson, as he broke out all the old theatrics during a set spanning his entire career. As always, the sound was crystal clear (even with earplugs). The stage provided little room for the band to move around (Chaussee barely moved an inch), but the opportunity to see the show in a venue as intimate as the 930 Club is one not to be missed. I hope at least one show on the tour is captured for a DVD.

MARILYN MANSON SET LIST: Intro: Antichrist Superstar (string version), Prelude (The Family Trip), The Love Song, Irresponsible Hate Anthem, Disposable Teens, mOBSCENE, Tourniquet (Minute of Decay intro), Personal Jesus, Get Your Gunn, Great Big White World, (s)AINT, Tainted Love, The Nobodies, The Dope Show (Diary of a Dope Fiend intro), Rock Is Dead, The Golden Age of Grotesque, Sweet Dreams (are made of this), Lunchbox, The Beautiful People, Antichrist Superstar, Outro: Suicide Is Painless