After a few songs, the platforms lowered into the stage and brought the players to eye level, and that's when the guys, augmented by a keyboardist, dug in and got down to the business of arena rockin', which they've clearly mastered at this point. Over the course of a tight, ninety-minute or so set, the eye-grabbing moments were often and plentiful. From the hydraulic lifts and the green lasers dotting the rafters to the scrolling graphics on the LED screens and Bellamy's backlit Dickinson cabinet, the visual element was strong and bolstered both the quieter moments and the fist pounding, sing-a-long anthems such as "Starlight," "Time Is Running Out" and "Unnatural Selection."
But it wasn't just an elaborate stage show that kept everybody's attention. Watching Bellamy and his mates turn in a precise, impassioned performance was every bit as dazzling, particularly Bellamy, who moved expertly and effortlessly between instruments. Playing single and double-neck guitars, he showcase prog-worthy fretwork in between tickling the ivories of a neon keytar and grand piano and pounding out rhythms on a rack of toms adorned with red tube lighting that blinked in time with the beat.