Ethan Miller/Getty Images for Clear Channel Muse played their second-to-last American concert date of the year at iHeartRadio in Las Vegas last night, and after next month’s Austin City Limits , it might be a while before fans see them again Stateside. “Next year, we may do one festival or two, but were probably going to concentrate on getting into a new album,” Muses Matt Bellamy told Rolling Stone backstage at iHeartRadio. But fans will get a chance to experience a Muse concert in almost lifelike form, since the band will be releasing a concert film. “Over the summer, we played this massive gig in Rome Olympic Stadium, that was probably the best gig of the year,” Bellamy said. “Its gonna come out in 4K, which is the highest resolution concert ever shot. Its four times more powerful than HD, so its like ridiculous detail. When you see the concert being filmed, you can see all the crowd, you can see their faces being filmed.” See Where Muse Ranks on Our List of the 50 Greatest Live Acts Right Now The exact release plans are still up in the air, but Bellamy said he expects it to get a limited theatrical release in the U.S., including some Imax screens. It’s a rare occurence for a festival-headlining band big enough to have its own concert film to serve as an opening act, but Muse did so last night in Vegas when they performed before Queen.”Events like this didnt exist a few years ago and we are playing withtechnically opening forQueen tonight,” Bellamy said before the show. “At any point in our career, I wouldnt have thought wed actually get a chance to play with them.” The eclecticism of the iHeart lineup, which also included Elton John this year, proved an educational experience for Muse’s drummer, Dominic Howard.”Having some of those older greats on stage and seeing them play is wicked, because you can still learn so much from a lot of those kind of people that have been around for a while and got more experience than you,” he said. Bellamy also finds it inspiring. “Its odd because when you start out, you perceive those acts as being something really quite long before we even were born, but also well before we started,” he said. “And to somehow end up on a bill with them is quite strange because it makes you think, ‘How old are these people?’ I suppose it gives you hope for making music as an old person.”
Interview by Mark Swed. Gehry aimed to do something similar, but for cultural rather than political reasons. He wanted his design to protect the idea of the concert hall as refuge but also to embody the essential informality of Los Angeles. He wanted to demystify and democratize classical music, a goal that happened to match those of the leaders of the L.A. Phil, first Ernest Fleischmann and later Deborah Borda. Getting from design to finished building was a hugely complicated process even by the standards of civic architecture in Los Angeles. Work on the hall stalled by 1994, and the project nearly collapsed for lack of money. Once it was restarted in 1997 the year Gehry’s Guggenheim Museum in Bilbao, Spain, opened to heaps of praise it quickly hit another crisis as Eli Broad and others moved to hire a second architecture firm to handle the working drawings for the complex design. Only when Walt Disney’s daughter Diane Disney Miller made a final gift contingent on Gehry’s full control of the design was the impasse broken. Those fits and starts matched what was happening in the city at large. During the period from design to completion, 1988 to 2003, Los Angeles negotiated riots and a major recession, rediscovered its downtown and cycled through three mayors. Gehry kept reshaping the architecture of a major civic building for a city that seemed to be trying to reimagine, if not remake, itself. One of the most remarkable aspects of Disney Hall is how from the start it sensed the extent to which the literal and symbolic holes in the Bunker Hill urban fabric needed filling. The exuberance of the design, the way it seems eager to expand outward like a bunch of balloons in a child’s fist, is in direct contrast to Moneo’s cathedral and Isozaki’s museum, both of which turn inward.
Frank Gehry’s Walt Disney Concert Hall is inextricably of L.A.
By James Montgomery (@positivnegativ) Clips of Nirvana ‘s legendary “Live and Loud” performance have been floating around on the Internet nearly as long as there’s been an Internet … though they certainly don’t give you a true feel for just how raucous and raw the show at Seattle’s Pier 48 truly was. To rectify that, MTV’s full “Live and Loud” concert is being released on September 24, both as a standalone DVD and as part of the deluxe, 20th-anniversary reissue of Nirvana’s In Utero album . It gives fans their first chance to witness the full, hour-plus set, not to mention exclusive, never-before-seen rehearsal footage … all of which captures the band operating at the peak of their powers. Last week, we unveiled moments of the “Live and Loud” performance, and today, we’re bringing you a pair of those rehearsal clips: “Very Ape” and “Radio Friendly Unit Shifter.” Shot on the same day as the show (at least judging by Nirvana’s onstage outfits), the footage captures both the band you know, and the one you probably don’t. The former is, of course, the surly, downright serious side of the band, and it’s on display here: Witness Kurt Cobain’s sarcastic jab at the show’s director during sound check “We’re just going to stand here until someone tells us to play” which directly precedes him launching into the curdling opening chords of “Shifter.” But the latter is, too. Turns out, Nirvana weren’t all doom and gloom, a fact those who knew them always seem to point out. Cobain spends the first portion of their “Very Ape” rehearsal absent-mindedly pounding on a drum kit located behind Dave Grohl, Par Smear jokes with bassist Krist Novoselic, and somebody has placed a ball cap on the head of the winged, transparent anatomical figure that graces the In Utero album cover. They’re not exactly sunny moments, but they certainly aren’t surly, either. In short, these rehearsal moments help paint the full picture … one that, for nearly 20 years has been incomplete. That all changes on September 24, with the release of “Live and Loud.” Sit back and enjoy. Nirvana performs during Live and Loud on December 13, 1993 Photo: Jeff Kravitz/FilmMagic