The Heresy Québec Review of the Marilyn Manson concert in Ottawa

For context read Lynn Saxberg's review in the Ottawa Citizen of Marilyn Manson's September 21st concert (here!) also the Calgary Herald review (here!), by Heath McCoy, of the September 11th show which is noteworthy because moral panic arose during the last time Manson performed in YYC.

I think Lynn Saxberg is a bit harsher than I was in my evaluation. Perhaps it is because I actually enjoy Manson's work and "art" (if you will). To a point. The concert opened late, but solidly with "We're from America",... and then spiralled into one of the most poorly orchestrated spectacles I have had the misfortune to attend. My beloved sister had described the Edmonton show to me and had lead me to hope that it might improve. I was really looking forward to his encore of Patti Smith's "Rock N Roll Nigger" a standard in his recent tours. (I love how McCoy can't even properly use the word "nigger" and has to instead write "n**ger" cuz changing the name of the song and replacing letters just makes all those years of slavery and oppression just melt away.) There was no encore. It seems as though the entire tour was lurching into the banal space of post-rock mediocrity and more importantly, from my myopic perspective, that the Ottawa show was the worst of the lot.

Upon exiting the Scotia Bank Überdome (or whatever the fuck it is called) I was struck by the fanboys and their overheard wankery: "That was so awesome!" And the perhaps more adulterated, "Well, at least he came to Ottawa." To the drooling first dyad I wanted ask, "Were we at the same concert?" I chose not to on the grounds that they were likely 13 and had no basis for comparison. I was reminded of the line from the Dayglo Abortion's "Black Sabbath", "he'd probably love me if I pissed on his face..." (Although the fan wankery is reversed there, the principle applies.)

I think even the over abundance of police were bored. Clearly their time was wasted in preparation for the rioting that just doesn't ever seem to happen moral panics be damned.

Mr. The Engineer made an excellent (and telling) observation: Tori Amos' performance was actually more transgressive. Perhaps that is the most salient point here. When a balladeer is more transgressive and much better an entertainer over all then perhaps the shock-rocker needs to fade back into obscurity and count the money received from residuals.