Here was Patton, weird as ever, yet in a strange way confined, brilliantly, by his inability to stray too far from his soundbank. Curious to see whether or not Patton could pull off being a frontman while playing instruments, I found him handling the task amicably, if not differently. Just in time to catch Tomahawk walking on stage, Patton, bedecked in a police uniform, jumped behind a long waist-high wall of keyboards, synthesizers, effects, microphones, and all sorts of other stuff. Lately, with Fanotmas, the highly awaited collaboration with Dan “The Automator” Nakamura called Peeping Tom, and now Tomahawk, Patton has taken genre-bending collage to a whole new level.Upon entrance into the Oakland Arena, something immediately seemed different. Bungle showed his truly wacky side, his droll and often scatological sense of humor, and managed to put out compelling, if often confusing genre-collages. Ask any nu-metal flavor of the month and he will tell you that he too wants to be like Mike. Upon Patton’s ascension to vocalist, Faith No More was transformed from a dime-a-dozen funk-metal band into a creative, influential force that showcased his amazing talent as a vocalist with his ability to go from an ethereal, almost lullaby-like voice to a guttural grunt, often within the same song. However, what is often neglected in discussions about Patton is that the man is an amazing vocalist and visionary. Needless to say, Patton has created quite a name for himself due to his insane antics. Bungle and was floored when he picked up a shoe someone in the audience had thrown onstage, urinated in it and then drank from it. At fifteen, too young for Kiss and too sheltered for GWAR, that was crazy theatrics. The first time I saw Mike Patton live, eleven years ago with Faith No More, he flopped around like a fish onstage, wiggling up and down gasping for air.
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