Desperate Times AI Music
One of the fans on Reddit noted on that Tool “played for like 3 seconds but it sounded like a complete mess. They stopped, looked at each other, laughed, Maynard made a quick joke to ease the awkwardness, then they started up intolerance.”
The fan further noted that “it seemed like Danny was playing the wrong song, but I’m not 100% sure that’s the case. Did anyone else catch exactly what happened here?”
One fan wrote: “Sounded like Danny and Justin started the grudge and Adam started intolerance, or the opposite, or a different combination. Or all three started a different song. Pretty goofy then they KILLED it.”
Another said:
“Hell yea they killed it! I was hoping to get intolerance or swamp song’
Third one said: “I was there and that was the one single song I was hoping for more than any other. I had lost hope that they’d play it and then it was the last song, which meant we could film it, too! Ended the night on SUCH a high note!”
It has been noted that Tool hasn’t released any new music since the last time the band came to Milwaukee. But its return to Fiserv Forum Wednesday often felt like a brand-new show.
The prog metal titans performed a dozen songs across a two-hour-and-8-minute set (excluding a 12-minute intermission), each spanning in length from six minutes (for “Intolerance” and “Forty Six & 2”) to 14 minutes for “Descending.”
The latter was one of five songs Tool played Wednesday that the band had skipped at its previous Fiserv Forum gig in 2019. Cut from last time were “Parabol,” “Parabola,” “Schism,” “Vicarious” and “Stinkfist” — acceptable concessions for the incredible addition of “The Pot,” “Rosetta Stoned,” “The Grudge” and “Culling Voices” this time around.
Tool’s songs are so intense, so intricate, that you could watch performances of nearly any one of them a dozen times and still notice something new each time. “Fear Inoculum” — the opening song Wednesday, as it was four years ago — remained a remarkable mood-setter, and an instant reminder that Tool remains in a league of their own. Adam Jones’ droning guitar, Danny Carey’s taut drumming, Justin Chancellor’s uneasy bass lines — they combined, surged, receded, creating a dynamic tension across 11 minutes that needed to snap, but never truly did.
