At Amalie Arena February 9th

- advertisement -

All Photos By Travis Failey Photography

It’s been a long 13 years, yes you read that correctly, 13 years since Maynard James Keenan and TOOL performed in Tampa. They were originally scheduled to play Amalie Arena affectionately known as the “Oil Can” back in April of 2020 but you obviously know how that played out.

Fast forward almost two years since the release of TOOL’s fifth studio album, Fear Inoculum and it’s subsequent tour, and after the long touring hiatus, TOOL returned to Tampa to a packed house full of a variety of TOOL and music fans. Whether you were a casual fan of the band, a super fan or somewhere in between, Wednesday night in Downtown Tampa was the place to be and to witness an amazing musical and visual performance.

Opening the show with a brief and interesting set was BLOND REDHEAD who got their start in the New York Underground scene in 1993 and have released 9 full length albums to various levels of acclaim.

The trio played 7 songs and got a mixed reaction from the crowd as I don’t believe many were familiar with their material. If you liked, loved or hated their set, one thing was for sure, they are very good at what they do. They create a very big & droning but crisp sound with bassist Kazu Makino and guitarist Amedeo Pace sharing lead vocal duties. The song that got the biggest crowd response was “23” with drummer Simone Pace standing out.

BLOND REDHEAD may have made some new fans with their interesting mix of music, but they were definitely one of the more questionable selections for an opening band that I have seen in my 35 years of going to concerts.

After their finale in “Loved Despite of Great Faults”, everyone that was in halls or still outside, made their way down or up to their seats in anticipation to what was to come. The crowd was a true mix of male and female fans where most rock show are heavily weighted by males.

As we went back to our waiting area, one image was glaring throughout the arena on the back of seats and taped to the stage. These were individual pieces of paper with the words:

“NO PICTURES OR RECORDING ALLOWED FROM CELL PHONES”

THANK YOU!

This was interesting as I haven’t seen this before and I wondered how this would be handled or enforced during TOOL’s upcoming set. That answer would be provided to me and to the rest of the crowd in spades, but I’ll get to that a bit later.

Prior to TOOL taking the stage, a spaghetti-like white drape was placed around the stage in a half circle. This was another of those instances of something I haven’t seen before. Usually, the drape covers the front of the stage and gets dropped or lifted away as the band comes on. The drape-like feature played a huge roll in the visuals during the first 40 minutes of the show by providing strip like shadows throughout the venue and on the band. It was drawn back and removed during “Pushit” as massive pulsating multi-colored circles moved through the video screens. It created an awesome effect and once again showed the originality TOOL has been known for throughout their career.

The house lights slowly went down and drummer Danny Carey sat down behind his massive drum kit filled with the usual standard percussion fair but also with a huge electronic multi-padded almost xylophone-type machine and other computerized accessories that engulfed him. He put all of this into use during his drum solo which is called “Chocolate Chip Trip” after a 12-minute intermission later in the set. One thing is for sure, Carey never wastes a strike, and every note has a meaning.

Guitarist Adam Jones and bassist Justin Chancellor joined him and the three proceeded to play the 11 plus minute opus and title track in “Fear Inoculum”. Maynard then crept up through the back of the stage to a riser to the left of Carey where he stood and sang for most of the song. There were one of these platforms on each side of Carey that Maynard sang and performed from throughout the whole set. Different variations of lighting made him either visible, partially visible, a silhouette or non-existent to the naked eye. With the huge video screen behind him and smaller ones under and on the stage, Maynard and his bandmates at times were small in stature but their music and stage show were nothing but gigantic.

After the opener, TOOL performed “Sober” with their classic video from 1993 that uses stop motion animation on the big screen with a multi-colored star of David in the forefront. It was this song and video that put them on the map and introduced them to the general music listening public.

TOOL continued with another recognizable song to the casual fan in “The Pot”. What I mean by this is that with most bands there are 3 different kinds of fans: The casual radio airplay fan, the fan of the band who has some of their music and listens to it once it awhile and then the “super fan”. Anyone who is reading this probably understands what I mean.

“The Pot” really stood out to the crowd and got a huge response when TOOL concluded the song but it was during the next song “Pushit” that we were noticing major disruptions in the stands and on the floor. Ushers and other employees with headsets and radios were going around not only to our rows and section but throughout the venue, going up to the fans and having them delete any footage they captured on their phones. If they refused, their phones were taken from them, the footage deleted, and the phone returned. If caught multiple times, they were removed from the venue.

Now I can completely appreciate the thought process and the experience of a phone/camera-less experience of days past, but this was too much. There are ways to phone restrict at shows by using a Yondr branded pouch process like in the past or other methods. Honestly it seemed very heavy handed.

After most got the direct message regarding camera use, only a few continued trying to capture the moment and after “The Patient”, the whole floor and the adjoining sides were completely black. I will say it was refreshing without trying to be a hypocrite.

Next up was “Descending” which I had never heard before. This song took you on a complete musical and visual journey that I could only compare to a PINK FLOYD concert, only supercharged. It was a roller coaster ride of bombastic sounds and visuals that bounced off every wall and skull in the arena. I know it may sound cliché’ but it was mind blowing experience especially with the red back drop behind a huge pyramid structure that looked like burning desert sands and on a scorched earth. The song dips and weaves then explodes as all the members show off their technical prowess as one.

The thing with this band, none of them try or want to be the focus or at the forefront of the band. It is a synchronicity that they have as a unit and their fans appreciate it. I also believe that’s why Maynard stands in the back of the stage and has done this for many years and tours. A fellow concert goer and friend mentioned to me:

“We had really good seats but never really got a good look at the band as was their intention.”
“I’ve never seen a frontman so far back for so much of the show…..that was a unique show.”

Personally, I did miss some level of banter between the band and the crowd and Maynard only made a really brief statement to begin the show with “Good news and bad news. The good is we are in Tampa, the bad is that we are in Florida."

I get it that TOOL’s bond with the crowd is through the music, but for me the lack of personal interaction gave me the feeling that something was missing.

After the aforementioned 12-minute intermission and the drum solo by Carey, who is one of the greatest drummers I have ever witnessed live, TOOL then concluded their set with “Culling Voices” and “Invincible”, both from Fear Inoculum. I was a bit surprised by the song choices throughout their set as most were only recognizable by the “fan” or specifically the “super fan”. I spoke to one of them and they absolutely loved the setlist as they were familiar with every note where the casual fan was wondering if they ever heard the song before. Frankly, I love it when bands I’ve seen many times play the deep tracks but I also know they have to cater to the casual fan also.

TOOL’s return performance to the Tampa area will be a memorable one for all who attended for their own variety of reasons. Fan of the band or not, this tour is a triumphant return not only for them but for any concertgoer and should be witnessed by anyone who loves music as an art form and as a visual experience. Go to this show. Whether you are “Sober” or not…..you will not regret it or forget it.

For dates near year: https://toolband.com/events/

Setlist:

• "Fear Inoculum"
• "Sober"
• "The Pot"
• "Pushit"
• "Pnuema"
• "The Grudge"
• "Eon Blue Apocalypse"
• "The Patient"
• "Descending"
• "Hooker With A Penis"