A sea of black engulfed the UCF Arena on Oct. 28 in anticipation for Trent Reznor and his industrial rock posse of Nine Inch Nails. The two-time Grammy winning band is responsible for well-known songs such as “Hurt”, “The Hand that Feeds” and “Every Day is Exactly the Same.” For this particular tour, Reznor’s bandmates include Justin Meldal, legendary Josh Freese, Alessandro Cortini and Robin Finck.
A thick fog is emitted from the sides of the stage, creating a haze that ventures from the main arena into the lobby. Fans of every age joined together in their dark attire for a celebration of musical history, and the buzz is deafening before the lights dim. At first glance, the stage isn’t much to look at; a wall of 112 lights provides a background, and even more enclose the sides. It makes sense; after all, this is the “Lights in the Sky” tour. In early March, NIN released “Ghosts I-IV”, a digital instrumental compilation. Soon after, in May, “The Slip” made its debut via the NIN website, sans any promotion.
Despite the lack of media, the turnout for the show is more than sufficient for a name as big as the Reznor dynasty, and there was no introduction necessary as the members ran out on stage and began their set without saying a word to the audience. The hundreds of lights surrounding the band flashed all at once, maximizing that industrial sound NIN has been long known for.
There’s no time to breathe, and the sounds reverberate throughout the stadium, shaking the concrete structure and blinding the audience with the intricate and astounding light show. No one expected this.
Reznor, clad in all black, growled into the microphone. There are no pauses for breath, and though the crowd is standing, the combination of lights and sound are a recipe for exhaustion and exhilaration all at once. Those on the floor raise their arms to meet Reznor’s outstretched arms. “Bow down before the one you serve,” he sings; the crowd complied emphatically and the second light show of cameras and cell phones flashed to capture his body contorted forward.
It’s impossible to satisfactorily explain the technology that went into this performance. Numerous caged wiring lowered from the ceiling acts as a screen, the band stationed behind as silhouettes. The light auras around them respond to their respective instruments; a desert, a swamp and a rainstorm all become the concert’s location.
The set included classics, such as the aforementioned “Hurt” and “The Hand that Feeds,” as well as “Throw This Away,” “Only” and “Head Like A Hole.” After over an hour, a pause finally came, and Reznor made sure that everyone knew the Presidential elections were right around the corner, and everyone should vote. “Florida, you got to get your shit together!” Reznor said. After a few more songs, the show ended almost as abruptly as it began, as each member was spotlighted, dropped their instrument, and exited with little less than a nod or a wave goodbye. There was no encore, but one wasn’t necessary; a show like that doesn’t need a finale when the entire show was a visual and audible masterpiece.
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