System Of A Down Live

The DDevil Is So Lovely

05/22/2011 - The Palms Casino Resort (The Pearl) - Las Vegas, NV



Daron Malakian: Guitar, Vocals
John Dolmayan: Drums
Shavo Odadjian: Bass, Backing Vocals
Serj Tankian: Vocals, Guitar, Keyboards


Other Performers:

  • Gogol Bordello



  1. Prison Song
  2. B.Y.O.B.
  3. Know
  4. Needles
  5. Deer Dance
  6. Attack
  7. Radio/Video
  8. Hypnotize
  9. Question!
  10. Suggestions
  11. Psycho
  12. Chop Suey!
  13. Lonely Day
  14. Soldier Side - Intro
  15. Soldier Side
  16. Kill Rock 'N Roll
  17. Lost In Hollywood
  18. Forest
  19. Science
  20. Holy Mountains
  21. Aerials
  22. Tentative
  23. Cigaro
  24. Suite-Pee
  25. War?
  26. Toxicity
  27. P.L.U.C.K.
  28. Sartarabad (Traditional, Cover)
  29. Sugar



Source          Format          Quality          Complete          Length



  • North American leg of 2011 World Tour.
  • As part of a contest on their official website, fans had the chance to pick six (6) songs for the band to perform each night.  The winner received two tickets to the show and a setlist signed by the band.
  • Daron dove into the crowd after "Deer Dance".





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  • System of a Down, Sweat And Shadow Puppets: A Few Thoughts From The Pearl
    By April Corbin,

    1. A faint stench of sweat lingered in the air before System of a Down took the stage for their sold-out Pearl concert Sunday night. (Thank opener Gogol Bordello for properly warming up the crowd with their gypsy punk.) But after System’s nearly two-hour long set? Oh, it smelled—like badassery.

    2. Killing time between bands is usually boring. Not tonight. A giant white sheet masked the stage and a light from the soundboard projected a SOAD logo, which inevitably led to one thing: shadow puppets. I have never seen so many shadow holes being shadow fisted in my entire life.

    3. Serj Tankian doesn’t look or move the way you might assume a typical metal frontman should, which is fitting because System isn’t anywhere near your typical metal band. He sported a white button-down, like he’d arrived late from a board meeting and the only thing he could do before the show was un-tuck his shirt. He also shook his hips more than most female performers do. I guess when you can scream and sing the way he can, you don’t need to over compensate with black eyeliner or metal spikes.

    4. System closed their set with the high-energy song “Sugar” from their earliest days, and with it formed a pit spanning almost the entire width of the GA floor. When the song ended, the band took their bows, threw out extra picks and drumsticks and departed the stage. No encore necessary. They’d played it all and played it well. Now, if only other bands would take notice and axe the bullshit move of saying they’re done, leaving without playing their biggest hit and then coming back after they’ve forced an ego stroke of screaming and chanting from the audience.

    5. All this, summed up in one succinct lyric: Everybody’s going to the party, have a real good time …


  • Festive Vibe Dominates System of a Down Show
    By Jason Bracelin, Las Vegas Review-Journal

    They cut rugs over the kinds of things that might lead others to cut wrists.

    Mass murder, government oppression, environmental degradation, blind consumerism: "Everybody dance!"

    So instructed System of a Down guitarist Daron Malakian at The Pearl at the Palms on Sunday, not that he needed to voice the command like a benevolent, hippie drill sergeant.

    Much of the exultant, capacity crowd already were shaking their stuff to stuff that normally causes folks to shake their fists in protest.

    Case in point: "P.L.U.C.K.," which stands for "Politically Lying, Unholy Cowardly Killers," which System tore into like a bull burying its horns into a slow-footed matador.

    The song is about the genocide of 1.5 million Armenians at the hands of the Turkish empire in 1915.

    Considering the band members' Armenian heritage, the tune is a personal one, and it's a fitting enough encapsulation of a band that's difficult to encapsulate: The song began with death growls and staccato thrash riffing that came on like heavy artillery fire before segueing to a slinky guitar shimmy that sounded like something that Police guitarist Andy Summers may have penned.

    Even when the band it at its most fierce, System still underscores all its considerable vehemence with a loose-limbed swing that distinguishes the band from virtually all its peers .

    Such was the case at The Pearl, where a festive vibe dominated the band's first tour in five years.

    Malakian spun himself in dizzy circles as singer Serj Tankian danced with his hands above his head in uninhibited fashion in a button-down white collared shirt, looking like the office square finally cutting loose after one too many vodka tonics.

    With his elastic, cartoon character of a voice, Tankian alternately sounded like Satan gargling with battery acid, an opera singer with Tourette's, a banshee getting drawn and quartered and a carnival barker mainlining Red Bull.

    He harmonized well with Malakian, whose voice frequently escalated to a wild-eyed whelp equally suggestive of both great ecstasy and dire agony.

    Combined with the band's herky jerky rhythms and jittery, overcaffeinated thrust, it formed a decidedly different approach to heaviness: There was plenty of density in System's turgid guitar crunch, but the band stayed light on its feet with exotic melodies and a spirited buoyancy.

    As such, System kept things perpetually off-kilter, alternating absurdist tantrums ("Sugar," "Psycho"), where Tankian sounded as if he's speaking in (forked) tongues, with more reflective, mournful elegies ("Soldier Side," "Lonely Day"), hurtling from songs about cocaine-addled groupies to ripostes on the military industrial complex .

    Through it all, they continually deflated, and occasionally poked fun of, the machismo that has long been synonymous with heavy metal -- and dudes in general.

    The song "Cigaro," for instance, began with Malakian making tongue-in-cheek boasts about the impressive girth and mobility of his manhood.

    Onstage, Malakian and Tankian's movements were graceful, almost effeminate at times, and their repertoire, while rife with its share of fire and brimstone, was also characterized by stop-and-smell-the-flowers New Age platitudes.

    "When you lose small mind you free your life," Tankian sang on a stirring "Aerials."

    Guess size does matter, after all.






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