The show, loosely based on Frederick Forsyth’s 1999 novel “The Phantom of Manhattan,” picks up a decade later and reunites Christine and the Phantom in New York’s Coney Island. In 2010, Webber’s ‘Phantom’ sequel, “ Love Never Dies,” opened in London’s West End, though it was never well-received and has yet to debut on Broadway. While it was generally successful - playing to “millions” of people over six years - the show closed in 2012 after 2,691 performances. The Venetian built the theatre specifically for the show, at a cost of around $40 million. The Venetian resort in Las Vegas opened “ Phantom: The Las Vegas Spectacular,” in 2006, which featured elaborate special effects and technology, including a giant chandelier that was able to reassemble in midair. Despite its critical acclaim, the song was never added to the stage production, however. The adaptation included a brand-new song written by Webber called “ Learn to Be Lonely,” which was nominated for the Academy Award for Best Original Song. Directed by Joel Schumacher (“Batman Forever,” “Flatliners”) it starred Gerard Butler and Emmy Rossum, as the Phantom and Christine, respectively. The show was adapted for the big screen in 2004 with a film of the same name.
With lyrics written by musical theatre giant Andrew Lloyd Webber, ‘Phantom’ has also enjoyed long life off-Broadway. Will of the People arrives 26 August via Warner Music.On Broadway alone, the musical has been performed more than 13,500 times and played to more than 19 million people at The Majestic Theatre. The themes of Muse’s songs largely remain the same as ever but Will of the People showcases a band enjoying their craft and continuing to expand their musical horizons to entertaining effect. Wolstenholme’s bass is the standout of a song which could be a Biffy Clyro effort in its sound yet is unmistakeably Muse in its falsetto-heavy rock opera. Will of the People closes with ‘We Are Fucking Fucked’ – the most joyous-sounding outpouring of helplessness about the impending doom of the planet. ‘Euphoria’ is readymade for crowd clap-alongs with Dominic Howard’s dominant rhythmic bass drum providing the beat to a fast-paced electronic song about wanting to feel something, with elements of previous Muse tracks ‘Bliss’, ‘Knights of Cydonia’ and ‘Time is Running Out’ evident. The intensity drops for ‘Verona’ – a candid love song reminiscent of The Temper Trap’s ‘Sweet Disposition’ with its sparse guitar.
You will struggle to find a better metal track all year. The heaviest song the band have perhaps ever produced, the new direction is the most invigorated they have sounded since ‘Absolution’ and is a more-than-welcome experiment. Then comes ‘Kill or Be Killed’ which begins like a Slipknot song and includes an excellent riff and guitar solo. The lyrics contend with the claustrophobia of an abusive relationship while, musically, this is Muse at their most garish. There is a lyric about "the great reset" which also suggests as much: it clearly seems a straightforward song of lost love that it could well be about the missed opportunity created by the pandemic – always a possibility with Muse!Įlectric organ introduces ‘You Make Me Feel Like It’s Halloween’ as the band takes on Phantom of the Opera for a song likely to be added to Halloween playlists everywhere. Virtuoso piano-playing is next on ‘Ghosts (How Can I Move On)’ as Bellamy laments lost love à l'Adele. First single ‘Won’t Stand Down’ is an all-out rock anthem with beastly bass from Chris Wolstenholme as Bellamy sings about fighting back against an abuser. Misheard lyrics (also known as mondegreens) are instances of when a song lyric cant be understood. ‘Liberation’ adopts the mindset of the oppressed with Bellamy’s piano and falsetto vocals from the whole band creating an epic soundscape for rebellion. Misheard Lyrics, performed by Phantom Of The Opera.
The second single off the album, it’s a catchy yet slightly mechanical effort. ‘Compliance’ comes next and is the most ‘Muse post-2006’ effort on the album with synth the dominant instrument and a slightly cold sheen to the song which addresses the untruths fed to people through multiple influential sources which distort our sense of compassion. With the name of the song and lyrics such as "we’re gonna smash this nation to pieces" and "the judges are jailed and the future is ours", events such as Brexit and the White House insurrection seem likely inspiration here. 'The wildest city on the planet': Rock In Rio Lisbon 2018 reviewedįirst up is the title track, which owes a lot to Marilyn Manson’s ‘Beautiful People’ with its "will of the people" refrain and tribal drumming, yet differs enough for Matt Bellamy’s glam-rock riff to be the defining musical feature of a song conveying the desire for revolution with confusion over what the uprising is for.
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