Reznor & Co. Hammer it Home
There are certain things you know about a Nine Inch Nails show goint into it. You
know it's going to be crowded, that wherever Trent Reznor and his band are playing
is going to be packed beyond any point of comfort or prudence. You know you are
going to spend hours before Nine Inch Nails comes on, pressed up against and
slammed into by guys wound tight with the desire to explode. You know there are
going to be moments when you'll have no idea what's going to happen next and you'll
feek traooed and terrified. You know at different times you are going to be
exhausted, disgusted, frustrated, scared and deeply, darkly angry. And there is one
other thing you know.
You know that Nine Inch Nails is going to come on and after that, nothing else will
Saturday night at a Fair Park Coliseum brimming with 8,000-plus fans, Trent Reznor
demonstrated the secret of his success: He put on yet another devastating
performance. Mr. Reznor has played here serveral times on hus way to becoming
hugely popular, and every time, he and his band have turned in heroic performances
that had everyone in the audience going out to tell all their friends about this amazing
band they had seen.
So far those waiting for Mr. Reznor and company, anticipation was high -- the
audience providing its own distraction by cheering the sky-bound moshers flunger
over the sea of heads that covered the floor. And then the coluiseum went dark, the
stage lighted up, a shadowy figure tore through the curtain. And the whole place
exploded. And there was that Nine Inch Nails soundL huge, overwhelming, at once a
dense buzz and propulsive groove. And all at once that sea of heads was a frenzy of
motion and abandon.
The trajectory of Mr. Reznor's success can be measured by the escalating scale of his
concert production. Through he played here last May, the Saturday night spectacle
dwarfed that show just five months ago. A heavily draped backdrop, colums topped
by spotlights set about the stage and banks of lights that would bathe the stage in
color (usially blood-red) are among the effects Mr. Reznor now has at his disposal.
He created the most chillingly beautiful passage of the eavening when a stage-front
screen was lowered, on which was projected a montage of images of death and
decay. Skulls, swarming insects, dead soldiers, mushroom clouds, windswept graves,
a snake's unblinking stare -- all these black-and-white images swirled by as down in
the corner, behund the screen, a tiny speck of color bleeding through, Trent Reznor
stood looking lost and ghostlike, singing in a small, faraway voice about the way
"everyone I know goes away in the end."
Tom Maurstad, The Dallas Morning News, October 31st, 1994
Downloaded to Smashed Up Sanity by Tracy@JCU (Tracy Thompson).
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is provided courtesy Keith Duemling and Tracy Thompson from the collection previously
located at SUS.