From the first words, “Corrupt/You’re corrupt/Bring corruption to all that you touch” softly sung like the beginning narration to an epic story, British rockers Muse introduce a theme running through their entire latest album.

The radical pose is definitely struck. Activists marching in black-and-white and slow-motion protesters wracked with passion fill the enormous video screens behind singer Matt Bellamy as he belts out “During the struggle they will pull us down/But please, please let’s use this chance to turn things around.” (The video for “Invincible”, available on their website, is filled with similar imagery.)

A certifiably catchy blend of all things Britrock, Muse can sound like Radiohead, Queen, and Led Zeppelin all in the same song. Three great tastes that taste great together, it’s difficult not to sing along or bang your head (as appropriate) when called upon to do so. In this way, I was reminded more than once of Third Reich marches; when the man on stage, clearly cooler than you with his custom Manson guitar with built in Kaoss pad is screaming, “War is overdue/The time has come for you/To shoot your leaders down/Join forces underground,” you kinda want to do it right then and there.

Closing your eyes and listening to the lyrics alone would suggest you’re attending a Rage Against the Machine show, but Muse is shiny, modern, and articulate (almost to the point of over-processed) compared to the raw, dirty, but “authentic” guys from Rage (whom you wouldn’t be surprised to run into while dumpstering some ramen). Rage, who’s classic eponymous album served as the twixt-set music at the Muse concert, looks like radicals. Muse looks like glam rockers. Who exactly is adopting the radical pose and who is content with radical ends?

Bellamy’s beliefs go deeper than the studio. His uncle was killed by the IRA, which has forced him to examine terrorism, its root causes, and how its used by governments to further their own causes. He’s publicly offered strong criticism of Project for the New American Century (bringing it up in interviews) and worn a shirt promoting projects of Alex Jones (no relation) on stage.

During the third song of the second encore my attention drifted to two drunken and half-naked girls merrily dancing around one another while only 100 feet away, in full Queen-like three part harmony, Muse proclaimed, “No one’s going to take me alive/The time has come to make things right!” before launching into thrashing metal ending complete with lasers, pyrotechnics, 10-foot wide balloons bursting into glitter, and jets of fog firing in all directions. The celebration seemed out-of-sync with the message, but walking home—ears ringing—I couldn’t help but feel invigorated to kick more ass.