PHOENIX — On an unexpectedly brisk February evening, amidst the peculiar backdrop of lightning streaking across the Arizona sky, an eager audience gathered to experience the second night of Tool in Phoenix, accompanied by special guests Elder, on their simply-named “Winter Tour.” It comes as no shock that Tool effortlessly filled their hometown venue for two consecutive nights. These performances were a delight for fans of progressive rock, as both bands firmly reside within this genre’s realm.
Elder
Elder’s journey began as a trio in 2006, in a quaint seaside town in Massachusetts before eventually relocating to Berlin, Germany. Evolving into the present-day roster of 4 members, lead vocalist and guitarist Nick DiSalvo stands as the sole remaining founding member. The group boasts an impressive discography, including, but not limited to, six full-length albums.
Comparisons abound between Elder and Tool, and while Elder tends to lean more toward the classifications of doom metal and stoner rock, there are undeniable similarities between the two groups. The 4-song, 40-minute set, which felt more like a mesmerizing jam session by a highly skilled and technically proficient ensemble, seemed to defy the passage of time. The band does not do very much that would be considered new, but what they do is done extremely well.
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Even without the elaborate visual show that Tool brings to the table, Elder’s performance—accompanied only by their name on the screen behind them—was very enjoyable. It served as a compelling example of why you should show up early to witness the openers. In fact, DiSalvo thanked the crowd for coming early to see them. They are worth catching when they come to town, and one can only hope they will swing by again sooner than later.
Tool
Among the fans in the arena, there was a palpable sense of anticipation, steadily mounting as the clock ticked towards 8:30. Nearly every attendee had settled into their seats about 15 minutes before the lights dimmed, all eager for what was to come—and with good reason. The opening sequence offered a tantalizing glimpse of the extraordinary spectacle about to unfold before their eyes.
The lights dimmed, the crowd erupted into cheers, and a heartbeat from “Third Eye” began. As Tool’s widely-acclaimed drummer Danny Carey climbed behind the kit, a massive skull moved across the screen from right to left in an arc. A second pass gave the skull muscles and blank eyes, a third and final pass gave it skin, irises, and pupils. By this time, guitarist Adam Jones and bassist Justin Chancellor had walked out, taking up their places in front of Carey.
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Tool sets the stage in an unconventional way: The bassist and guitarist stand in front of the elevated drummer, who has quite the legendary kit surrounding him. On each side, slightly set back, are platforms mostly shrouded in darkness. Behind Carey, there is a walkway, serving as the domain of vocalist Maynard James Keenan, who adamantly prefers not to be at the forefront of attention. He has been known to face away from the audience to immerse himself in the right mindset for certain songs, but he did not do so this evening.
As the notes for “Fear Inoculum” began, Keenan could be seen pacing in circles on the stage-right platform. Keenan rarely stops moving during the show, and can be seen frequently crouching down as if he is preparing for an unseen opponent he could employ his Brazilian Jiu-Jitsu skills against, given his black belt proficiency. He also rhythmically slaps his legs or pounds his chest to the beat when not singing. In essence, Keenan is a spectacle unto himself, captivating the audience with his dynamic presence.
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There is an old adage that everyone knows by now: The only things certain in life are death and taxes. But nowadays, it seems almost incomplete without adding a third certainty: Maynard James Keenan’s disdain for all manner of cell phone usage at concerts. No matter which side you fall on the issue, there is no denying that as a concertgoer in these times, you are likely to partially watch the show through the lens of someone in front of you as they hold up their phone to record a video. Keenan has no problem letting you know how he feels about this, and in fact he insists that venues eject people who have their phones out. 30 or so people were reportedly kicked out during the prior night’s show for violating this rule, and at least 4 were spotted being escorted from the floor on this night.
After “Fear Inoculum” ended, Keenan addressed the ban on cell phones by laying into the culture of addiction to false connections, informing people if they could not put their phones away for 2 hours, they should seek help. His reasoning was that he—and the band—wanted everyone to be present in the moment as they were taking the crowd on a journey. With the exception of the few who discovered that yes, it was still chilly outside, and yes, security was dead serious about enforcement of the policy, the audience as a whole respected the artists’ wishes.
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Keenan was not using hyperbole when discussing the journey to come. The show truly is a transformative experience, with visuals that sometimes evoke the sensation of a particularly intense trip on psychedelic mushrooms. A prime example occurred when the screen behind the band abruptly showcased towering, 40-foot-tall aliens peering out at the crowd. Overall, the visuals behind the band are absolutely incredible to see, and there is no denying that they immensely enhance the experience. It should also be noted that Jones is an accomplished makeup artist and set builder—including work on Jurassic Park—and as such, some of the visuals came from him.
Photography: Katherine Amy Vega © All Rights Reserved
Tool has a decent-sized body of work, with just over 50 songs in total, but the shows tend to have somewhat sparse setlists due to the length of their songs. This show was no exception, with just 11 songs, five of which came from 2019’s Fear Inoculum. There was a 12-minute intermission after the first 7 songs, where seemingly the entire arena made a mad dash to offload trash, visit concessions for some more food or drinks, and/or make a pitstop in the restroom.
For those who managed to return in time, they were treated to the sight of Carey—sporting a personalized Phoenix Suns jersey and basketball shorts—standing before a colossal gong. After gently massaging the gong’s surface with his drumsticks, Carey took a mallet, pointed back toward the crowd, and delivered a resounding strike. Following this striking display, he settled behind his drum kit and unleashed a multi-minute drum solo, captivating the audience as it was magnificently showcased on the towering screens behind the stage.
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Carey’s drumming prowess is unparalleled, a true maestro behind the kit. It’s not only enthralling to watch but also a delight to listen to him weave his rhythmic magic.
Next up was Chancellor, who delivered a relatively swift bass solo. Despite its brevity, witnessing him coax sounds from the bass that seem impossible was incredibly impressive.
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Lastly, but certainly not least, was Jones, who effortlessly shifts between styles, making it a bit more challenging to emulate him. However, witnessing someone defy “traditional” styles in such a remarkable manner is truly awe-inspiring. It’s a sheer pleasure to observe this trio craft music in ways that most can only dream of replicating.
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There would be a total of 4 more songs, including “Flood,” which saw confetti dropping from the ceiling during the intro. Right before the final set, Keenan informed the crowd – almost resentfully – that since they had been good, they could film the final song. He also brought up the fact that he would be touring with A Perfect Circle and Puscifer, with a return to the valley in April. He then told the audience that they could take out their “stupid” phones, but warned that if they used their flash while taking photos or had their light on while filming, he would come down and “kick them in their vaginas.” As if on cue, someone immediately held up their phone with the light on, which drew Keenans’ wrath, as well as the attention of security.
What other song is better to close the show with than one of the most recognizable songs in rock, “Schism”? The opening notes may not be quite as recognizable as the riff, but almost any rock fan is immediately going to recognize those notes. It is fun to watch Tool live; every facet of the show is nothing short of entertaining, and the journey that Keenan promises to take the fans lives up to his word. As the final notes faded, Keenan left his perch for the first time, fist bumping each of his band mates before exiting the stage and allowing them to take the final bows they deserve. Keenan is an anti-star, if you will, and yet he certainly has the gravity of one.
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Do yourself a favor and go see Tool next time they come to town. And if you are able, go see Puscifer and A Perfect Circle with Primus in Phoenix on April 16th or 17th (SOLD OUT) as well. Especially considering it will be Keenan’s 60th birthday celebration, we have every confidence they will not leave you disappointed. More Tool and Sessanta tour dates on Live Nation.
Photo Gallery
Photographer: Katherine Amy Vega
Tool & Elder – Footprint Center 2-10-24
Photography © Katherine Amy Vega, Kataklizmic Design
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. With this song the band recalls 80’s goth and dark rock in a poetic and driving track. The music video features black and white cinematography following a young woman in her journey of the “Universe Garden“. The video was shot by Torturett Photography in Hampstead Heath, London. Watch the new video 
(2013). Both records were reviewed by many webzines and magazines all over the EU. The same year as their latest release, they performed more than twenty successful shows in some of London’s best music venues. The band also achieved numerous airplays from radio stations (K2KRadio, VirginRock, ClassicRock and Bcfm-Bristol). The new album Eight was released via NMTCG records.