On the Road Again
Live Review

Marilyn Manson
Varsity Arena, Toronto
July 26, 1997

First, the hoopla: Marilyn Manson's arrival in Toronto was preceded by outraged Christian/anti-violence coalition complaining in the press and seeking to ban Manson. Sadly, this had no effect on the sell-out show, and the protesters outside the venue were a big non-event. The real clashes occurred outside the venue's door, where legions of appropriately clad fans were being stripped of any potential weapons and all baggage. Security took away knapsacks, lunchboxes and large purses, with a huge pile of wallet chains, handcuffs and bondage belts tossed into a large plastic wastebin. This was all at the band's request, apparently, and all items were tagged for easy retrieval, but that didn't make it any nicer.

This policy sucked most because going to see Marilyn Manson is as much about dressing up in your freakiest best as it is watching the band play - the audience is part of the show. Yet as Manson becomes more mainstream, the crowds become less colourful, less innovative. This audience was mostly filled with suburban teenage boys in bad Manson make-up (here's a tip boys: liquid liner, not pencil) and girls in black velvet. The lack of enthusiasm in dressing was also displayed by apathy during the show.

As per usual, Varsity Arena proved an absolutely heinous venue, the sound a loud blanket of mush. This is bad news for Manson, a band which has always failed to replicate the dynamics of its albums on-stage. Marilyn's wails were matched only by a full-on guitar assault, the spooky keyboards and programmed drums lost in the barrage. If the moral majority was there to witness something obscene and shocking, they most likely left after realizing not a word could be deciphered in the mess.

In fact, the worse crime committed by this band was its song selection. The show began well enough, then quickly went into a string of the band's most irrelevant songs (including the ill-chosen single "Tourniquet"), making it seem like a bad heavy metal gig. For the most part, the crowd responded with indifference. Then, just when things were looking grim, the band played its best card: the dramatic set change and explosive entry of "AntiChrist Superstar," without a doubt the show's highlight (Unless its powerful imagery gave you the creeps.). From there on in, Marilyn Manson delivered what it promises, a great spectacle full of cliché social commentary, including bits of cover songs ("Jamming," "1999") and lots of intensity. This is one band that gives it up, non-stop and without hesitation, and with each and every performances comes closer to the rock apocalypse it hopes to be.

- Liisa Ladouceur