Tool made their way to Toyota Arena in Ontario on February 17th, just one day before their tour closer in Las Vegas. I felt fortunate to have caught this show for a couple of reasons. One, most of the arenas they’ve been playing in are fairly large; some, like Crypto in Los Angeles, are cavernous. However, Toyota Arena holds just over 11,000 so I’ll call this an “intimate” show which was loud and had PHENOMENAL sound.
Opening for Tool was Elder, a four-piece doom/stoner metal band from Massachusetts who released their first album in 2009. Musically they were a perfect fit as an opener for Tool as their songs seemed to blend into each other, giving the impression of one incredibly long song.
After a brief intermission, Tool took to the stage at 8:30, making their entrance to a heartbeat sound which appeared to be from their song “Third Eye.” Quickly though the opening notes and percussion of the title track from their newest album, “Fear Inoculum,” began. In typical Tool fashion, it was a slow build to intensity; they’re not the type to pigeonhole themselves like so many others that come out with a bang.
For this tour, Tool did away with the beaded curtain they previously used to project imagery on for the first 1/3 of the show. Using only a large LED screen for visual images, the audience was allowed to journey through our own imagination, but via a soundtrack provided by them.
At the end of “Fear Inoculum,” vocalist Maynard James Keenan took a moment to sternly let us know not to use our phones. We were to leave them alone and anyone caught using them would be escorted out of the arena. It was at this moment I realized my second reason for feeling so fortunate for this show. Keenan made mention of how this show almost didn’t happen as he had been feeling ill. Considering he stands in the dark for the bulk of the show, you certainly couldn’t tell, and his voice sounded perfect the entire night, which was evident later in the second set by just how smooth his vocals were.
The buildup I mentioned earlier came into full effect for the second song, “Jambi,” which was followed directly by a literally ripping version of “Rosetta Stoned.” These two songs are from the album “10,000 Days,” which guitarist Adam Jones and drummer Danny Carey shine on. The light show had now added lasers, streamed lights that would make what looked like a wall around the stage, and aliens on the screen behind the stage. Their heptagon began to move forward to make its first appearance.
After years of pretty much the same setlist due to some kind of legal battles, they wasted no time feeding us new music, flowing perfectly into “Pneuma.” The songs sounded almost as if it was an extension of “Rosetta Stoned,” and was followed by “Descending.” To me, this was the first obviously new song that was very different from their previously released material, yet there would be zero doubt who it was if you were only hearing it with no other context.
With Keenan perched high up to the rear of the stage, remaining mostly in the dark, Danny Carey was well lit, making it easy to see the multitude of drums in front of him (or maybe it’s to highlight just how fucking great of a drummer he is). Adam Jones and bassist Justin Chancellor kept the music driving. They aren’t a band that jumps around like rock stars with egos to fill. The screens showed imagery to help you feel the music. That’s what you’re there for – to feel it deep in your soul, not see it. Everything they do, you know is happening, and when they slide into “Schism,” it’s done so well, if you were stuck watching egos on a big screen, it just wouldn’t be the same.
The band gave us a 12-minute break before the next set. Time to catch my breath, let my heart settle down a little bit, and yes, look at my stupid cell phone. Earlier in the show, Keenan equated cell phones to Fentanyl. I totally get it; they do create the walking dead. I felt dirty holding it.
Break time over! Let’s bust out the second half with a banger! Nope, let’s not forget this is Tool and you’re on their trip. Drummer Carey came out first, not in his usual basketball jersey, but now wearing a body suit that resembled human muscle, similar to the “Lateralus” album cover.
Carey stood before a gong, creating waves of different sounds before jumping behind his kit to give us “Chocolate Chip Drip.” This song is also from their new album and something very different, but this time I would have no idea it was Tool if I heard it without context.
Still highlighting Carey’s mad skills came “Culling Voices,” which saw him step from behind the drums to play a second guitar along with Adam Jones. A beautifully haunting song that also gave us a confetti shower for nearly the entire song.
This was followed by one more, and final, song from the new album, “Invincible.” But we had to end the night with a classic. Before closing out with “Stinkfist,”
Keenan gave us permission to pull out our phones to record or take photos. I must admit I did so, but within a minute I could tell I was losing the moment, so I put it away and felt every last note till the end.
