By Mark Daniell
Motley Crue is on their way home.
But before the ‘80s hair metal band close out their 35-year musical odyssey with a three-night stand at L.A.’s Staples Center in December, they’re saying goodbye on the last leg of their Final Tour, which stopped in at the Air Canada Centre Saturday night. It’s their second stop here in a year and it will be the last.
So it was a good thing their run in Hogtown was on a weekend since it allowed more than a few people in the enthusiastic, near-sold out crowd to party unabashedly with frontman Vince Neil and his other bandmates, bassist Nikki Sixx, guitarist Mick Mars and drummer Tommy Lee.
After all this really is it. The foursome signed a “cessation of touring agreement” on Jan. 28, 2014, which goes into effect at the end of this year.
“I’m sure there’s people that are like, ‘Oh, they’ll be back in five years.’ I can tell you that we won’t,” Lee told Postmedia Network in advance of the Final Tour.
Throughout the night — which kicked off with Girls, Girls, Girls — the band paid tribute to their fans in Toronto, with Sixx recalling Motley Crue’s first arena appearance in June of 1984.
“You are everything,” he told the Crue faithful. “You guys are Motley Crue.”
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Sure, it’s easy to knock Neil’s voice. He’s not able to hit the high notes he once could, and two female backup singers helped out considerably, along with the crowd, whose ample voices noticeably filled in the chorus on Same Ol’ Situation, Smokin’ in the Boys’ Room, Don’t Go Away Mad (Just Go Away) and Dr. Feelgood.
But the Crue’s final show in Toronto wasn’t about being perfect, it was about giving the fans — a considerable number of whom seemed like they’ve been with the band since the beginning — one last trip down memory lane.
The setlist hasn’t varied on this last leg, but it is chockablock with hits. The Crue aren’t interested in digging out any hidden gems, and the stage show has a bit of a musical theatre vibe (“Raise your hand if you’re a bad motherf—er,” Neil said introducing what else, Motherf—er of the Year). Fireworks and pyrotechnics dominated the 100-minute set, with Sixx’ bass doubling as a flamethrower during Shout at the Devil.
But the admiration the band feels towards its fans seems genuine.
Sixx and Neil continually worked the stage, gesturing to fans in the front and the sides. Mars handed out guitar picks, at one point asking security to hand a particular set to a fan out of his reach. And their love for one another was evident throughout as well. During the band’s cover of the Sex Pistols’ Anarchy in the U.K., Sixx and Neil held hands during one of Mars’ many solos.
But the highlight of the night was Tommy Lee’s Cruecifly, which saw his drum setup attached to a riser on roller-coaster tracks that extended out over the audience. Lee’s Cruecifly spun upside down as he played the beat for popular tracks including Led Zeppelin’s Moby Dick and the Beastie Boys’ Sabotage.
“What you are witnessing is a lifetime dream,” Lee said.
