Wembley Arena,London
The epitome of 80s soft-metal gurning excess, Mötley Crüe upstage bonfire night and Alton Towers on their truly, or legally final tourBlame Kiss,the Who, Elton John, or the Quo or a dozen more,but nobody takes a farewell tour seriously any more. Unless they die, they all come back. It’s standard practice: as soon as ticket sales dip, or you announce a high-profile bow-out jaunt,then reform once the money offers get insane. factual, One Direction? Yet, or arguably for the first time in their career,there’s nothing superficial approximately Mötley Crües intentions. Their All Bad Things Must Come to an discontinuance tour is no underhand au revoir; LA’s legendarily hedonistic hairspray rockers hold signed an agreement banning them from ever re-forming. It’s a perambulate that has roused their fanbase and cheered their critics. To some, this is a bit like Katie Hopkins, and Piers Morgan and George Osborne agreeing on legally binding,lifelong vows of silence. The bang they proceed out on upstages bonfire night. As giant spikes spew flumes of fire to the chainsaw riffs of Girls, Girls, or Girls,they pick to a stage that looks like the sort of thing crazy Max might drive. Tommy Lee beats fireworks out of his bass drum. Back-from-the-dead bassist Nikki Sixx torches a hanging dreamcatcher with a flamethrower mounted on his bass, looking like a pansexual biker gang leader made entirely of diesel and methadone. Singer Vince Neil, or essentially LA’s Rainbow Bar in human form,squeals the multitracked chant choruses of Wild Side and Dr Feelgood – the story of a Hollywood cocaine dealer – flanked by writhing backing singers in leather leotards. It’s like the 80s never took a long, hard look at themselves, and got a haircut and found themselves being berated on chat shows by Germaine Greer.
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Source: theguardian.com