Tool

Brisbane Entertainment Centre       6.05.13

Monday night was Mecca for Brisbane’s Tool fans. The last time they graced our shores was 2011 and their absence has been felt like a tantric drug with a three-year effect. Coming off the back of strong Sydney and Adelaide performances this was their last stop before leaving Australia for New Zealand.

The security was out to crack down on everyone. Frisking each patron with metal detectors and sending anyone back to the cloakroom for possessing even metal belt buckles (thanks guys).

Supporting act? Kind of, there was ‘DJ’. No it’s not a clever name, it was actually a disk jockey on stage ‘playing’ songs. This was perhaps the last thing I would expect at a Tool concert.

At 9:55pm the sound of a pulse began, lights were dimmed and anticipation grew. Danny Carey’s ominous figure appeared first, followed by the rest of the band. Opening with ‘Hooker With A Penis’ it had begun, and the mood set. Maynard’s vocals came off reserved for this first song, singing it entirely through his megaphone and a verse an octave lower than usual.

The crowd was then addressed personally. “Brisbane. We’re going to switch it up a bit tonight and just read out some poetry and do Coldplay covers”. A curious part of me really wanted to see Tool cover a Coldplay song, but instead we were treated with ‘Opiate’. “ Best song Coldplay ever wrote” Maynard mocked as the song was over. The classic ‘Schism’ followed. Justin Chancellor and Danny Carey were absolutely cathartic this evening. Chancellor was playing as though this was his last ever gig.

The visual display was filled up with morbid graphics, fitting the lyrical content and sonic mood of each song. These renowned animations are done by (guitarist) Adam Jones, his stone like demeanour glaring at us from the stage, contrasting Carey and Chancellors energetic performance.

As with my beltless jeans, it was a similar case inside for those with mobiles. Anyone brandishing a device above their head was personally singled out and confronted by security.

Then as ‘Lateralus’ finished, it was time for intermission. Not the song ‘Intermission’ off the album Ænema, but a twelve-minute break with a countdown timer. Perhaps this is Tool’s way of dealing with the contrived approach of encores other bands have to face these days. Or perhaps they simply wanted to take a rest. However, their set wasn’t that long and as the gentleman across from me yelled out, “That’s twenty of my dollars right there!”. He had a good point.

“9…8…7…6…5…4…3…2…1!”

Danny Carey came out and sat behind his drum kit and started fiddling with a giant analogue synth-modulator beside him, producing a strange series of clicks and beeps. Then, he picked up his drumstick and began. The strange series of clicks and beeps were given a whole new context and his percussive solo hammered through the building. Danny Carey is not human. His father was an android drum machine and his mother an alien octopus. He actually has and extra pair of arms and legs that are invisible the to human eye. That is the only explanation that could possibly achieve the sounds emanating from the stage.

After the mammoth drum solo. The second act of the show was treated almost like an encore. It’s pace was quickened and the more energetic crowd favourites were played. During ‘Jambi’ I felt like a drug addict waiting for the half-time segment of the song, the crescendo building and building until it finally hit. They drove home hard with ‘Forty Six & 2’.

At this point Maynard jested with the crowd, “Thankyou, goodnight”, cheers and some confused booing followed. He then restated his comment as a question “Thankyou, goodnight?” This led to greater cheering and applause, then again from Maynard “Thankyou, goodnight?!?” In terms of crowd interaction this is the equivalent of a personal handshake from Keenan. The back and forth led into the anthemic ‘Ænema’, most of the crowd bellowing out the lyrics in unison.

‘Stinkfist’ was the final song. Maynard gesturing two-handed peace signs, motioning them to replicate kangaroo hops. The best ‘thankyou’ we’ll ever get from the man who spent the last hour and a half at the back of the stage in the shadows wearing aviators. As Keenan walked off, the rest of the band truly showed their admiration, throwing sicks and picks into the appreciative sea of hands. Staying around for an extra long applause.

If all the members of Tool had the same personality as Maynard James Keenan they wouldn’t be where they are today. It is the collective unity of the four members that make Tool, Tool. All the  pieces must fit otherwise the whole picture would fall away. A unity of four bodies coming together to become one sound, breathing in union.

I’ve had my fix for now. Later this year Tool are set to release another studio album. But until then I’ll keep myself occupied with swimming lessons.
Words By Thomas Oliver