Phoenix, AZ— Puscifer, the darkly creative outlet for Maynard James Keenan, kicked off the second night of the Normal Isn’t tour at the Arizona Financial Theater on March 21, 2026, with comedian Dave Hill opening the evening. A much‑anticipated stop, the performance lived up to everything the pre‑tour marketing hinted it would be. Humor, satire, irony, and a measure of anger were darkly woven throughout the night.
The opening salvo was a creative way for Keenan—well known for his dislike of cellphone usage at concerts—to directly address the issue. Rather than forcing people to use the locking bags many performers require, an animated video announced that no concert video or phones were permitted, followed by a demand that the audience shout, “I understand.” At first, it seemed the audience didn’t believe the response was truly required. It didn’t take long, however, for them to realize Keenan was dead serious, and once the volume reached his satisfaction, the evening was allowed to proceed.
The stage featured a two‑tiered setup, with Keenan—performing as the goth Puscifer character Bellendia Black—and Carina Round, as Fanny Grey, trading positions throughout the show. Danny Carey and his strong, solid drumming were nicely prominent at near-center stage. At times, Keenan and Round performed on the lower level while guitarist Mat Mitchell and bassist Josh Moreau occupied the second tier. The lighting was intentionally dark and eerie; the only drawback was that during second‑tier performances, the combination of heavy fog and minimal lighting made it difficult to see the musicians clearly.
The threads of humor and satire were most prominent in the first half of the set. Between the short comedy video “Bangers and Mashups,” which depicted Bellendia Black and Fanny Grey participating on a holiday baking show, and a playful Nerf‑gun exchange during “The Remedy,” Puscifer kept the mood noticeably lighter than what followed.
In the second half of the show, irony and anger came more sharply into focus. Personally, this felt like the point where the core of why Puscifer exists for Keenan—and what Normal Isn’t is really about—became most clear. My favorite performances of the night were “The Humbling River” and “Momma Sed.” When Round joined Keenan on “The Humbling River,” the audience response was immediate and sustained, with applause lasting longer than usual. “Seven One” was accompanied by a short video exploring the mystical, historical, and mathematical significance of the number seven—one of those moments that leaves you wanting to ask the band more about the creative inspiration behind it.
Just before the final song, “Grand Canyon,” Keenan rewarded the audience for their compliance by announcing they could finally bring out their phones to take photos. He added that anyone who didn’t know how to turn off their flash should find a nearby 10‑year‑old for assistance. Amid the laughter, there was also what sounded like a collective sigh of relief.
Normal Isn’t is a meticulously executed show. Musically, everything sounded flawless. It joins a very short list of concerts where the live versions don’t merely match the studio recordings—they surpass them.
Setlist:
• “We Understand” Video
• Thrust
• Normal Isn’t
• Bad Wolf
• Self Evident
• The Algorithm
• The Quiet Parts
• Pendulum
• “Bangers and Mashups” Video
• The Underwhelming
• Mantastic
• Bullet Train to Iowa
• The Remedy
Intermission: What Floor? (Idokay song) (10 Minute Intermission)
• The Humbling River (2026 Remix)
• Momma Sed (Versatile Mix)
• ImpetuoUs
• Seven One
• Conditions of My Parole
• Grand Canyon
• A Public Stoning (with Dave Hill) (On outro guitar solo followed by him playing riffs after the house lights came on walked off playing)
