Muse breakdown their most iconic tracks | Radio X

Radio X presents an evening in
conversation with Muse it’s true, when you tour an album you do tend to drop a lot of of that stuff that you’re
doing but obviously uprising stuck around you know it really seemed to be a very
popular song and it’s like the best song in terms of getting the crowd
singing live you know like it is I love putting a mic out hearing everyone sing
that song is just really kind of it’s almost meant to be sung by a group of
people not like just one person on their own it sort of seems more powerful
that way but yeah it’s cool track that was where we produced ourselves in a
studio in Italy in Como and we put together with lots of layers and I think
we kind of knew with that one as soon as we recorded it we’re like that’s the
first single, I seem to remember thinking that so we need straight away it
was it was going to be an important one yeah. Hysteria…. how do you feel about Hysteria now? that’s going back a while. I think that’s another one that’s still kind of you know it’s
pretty much in every set we still do Chris loves playing that one. I hate
playing it – it hurts! It’s like Plug in Baby. I
think it went out of the set for a little bit maybe around the time of the
resistance and you know I think there’s been certain songs we’ve done that with
we’re giving them a little rest for a while and bring them back into the set
and they almost kind of feel new again but yeah it’s been in the set for quite
a while now you know it’s you know it’s quite early in the set I think this is
one of those songs that kind of gets people up straight away. of the first times we started
going down this sort of you know outside of rock route a little bit and and I’m
glad it was attractive but you know produced ourselves put it together
ourselves completely. What album was that on? It’s kind of alright you know you know it’s
big in Germany by the way yeah we whenever we play that song and Germany
the crowd goes wild it’s like it’s like our most popular song in Germany which
is it’s always nice to have these songs that really have certain unusual
resonances in faraway places you know or in different countries like we did a
cover song I’ve can’t take my eyes off you once and like it’s massive in Japan
I mean every time we play people go people go mental
so but yeah it’s it’s one for the Germans Knights of Cydonia still sounds great to
me I think I think that the that’s where we first discovered what there’s some
elements of this album, when I look at that album cover over there I think to myself
or the album cover of simulation theory I think to myself like I don’t think we
would have gone there if it wasn’t for Knights of Cydonia in terms of this kind
of embracing sort of fantasy crazy silliness you know and sort of mixing
rock with real synth stuff and it all being a bit just out sort of you
know fantastical and outrageously silly really you know and I think that that
song sort of was really experimental for us at that point when we couldn’t
believe we literally couldn’t believe how popular song became it’s like it’s
probably the best sort of set closer that we’ve ever had and it still to this day
and the main song we play at the end of every gig. Crowd go mental when it kicks
in at the end is like it’s like a big build-up but as I said when we’re
recording it we were laughing our heads off I mean if we didn’t we didn’t really
we were experimenting to the extreme on that one yet yeah yeah I mean it’s it
does put a smile on the face but that’s a fantastic thing fantastic thing to be
able to create while people go completely crazy resistance itself the title track of
that album that still stand up in your view yeah I think it does it kind of
goes in and out the set we seem to play that one like more in the States for
some reason again like some tracks just you know get different responses in
various countries around the world but then that one did okay over there so
that comes in as I’ve really loved playing at that track personally cuz I
like the drums in it but I’ve yeah I do know a big reverberating I’ve got I’ve
always got feel like I’ve got convince Matt to do it I’m like come on
resistance it’s great he’s like “Nah, shit” I don’t say that it’s great it’s a great
song I don’t say that It’s never really kicked off live do you know what I mean? in the way that I sort of thought it might you know as I said like
Knights was the big surprise on the album so we play it here and there as Dom said you know in places where it seems like people
like it you know Starlight you’ve mentioned a few times
already in our conversation I mean do you think that was a moment a special
point in the evolution of Muse when you created yeah for sure it’s definitely
it’s definitely the softer side I don’t really write love songs very often you
know and it’s definitely in that area you know it’s probably that one or two
of those every album maybe at most so and it was nice to have one that people
took on board like that and really loved it you know and so I remember actually
playing is the first already got into sort of crowd interaction actually I
think we’re playing in Japan and as first time I ever thought to myself like
what happens if I clap you know everyone started clapping the song and
and that sort of so kind of it added it sort of added a kind of more uplifting
moment to the to our gigs you know that where people just sort of felt be more
levity in a bit more sunshine not just a wave of dark anxiety time is running out
yeah that’s not bad yeah it’s interesting still it’s still in the set
I can’t remember that last time we didn’t play it in a set to be honest so
it’s another one that’s really stuck around I mean we played it in the other
night in Spain didn’t we and it fit it feels on the older side to me when I
play it because it is yeah but yeah I guess it’s again it’s another big single
long track live so I think you know when when if you play a song the crowd
really reacts to it kind of obviously gets you into it makes you want to play
it again so I I see that hanging around for a bit yeah its first time we had
that really because our first two albums didn’t weren’t first album did it
come out in America? The second album didn’t even come out in America yeah I mean
whereas Absolution was a kind of almost like a debut album in America and
and Time is Running Out out was the first sort of song that we had I felt like Americans
were sort of really digging it you know and the crowd really got into.

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