Amidst an array of lights, smoke, cages and leather, Nine Inch Nails took the Germain Amphitheater stage Wednesday, June 28 in front of a raucous crowd. The show, which was an exhibition in testosterone-fueled arena rock, was 70 percent stage circus and 30 percent music, and that is not counting the thunderstorm that accompanied it.Halfway through English goth band Bauhaus’ set (the last of two opening acts) the heavens opened, setting the stage for NIN’s vibrant and sexually fuelled set. Vocalist Trent Reznor, bassist Jeordie White (a.k.a. Twiggy Ramirez of Marilyn Manson fame), guitarist Aaron North, drummer Josh Freese and keyboardist Allessandro Cortini took full advantage of the harsh elements, launching into a no-nonsense 19 song set.

Partitioned into three sections, the stage could be morphed from an intimate setting to an all-encompassing stadium rock show within seconds. At the back of the stage, seven light panels (looking something like the large televisions that U2 used during their 1992-93 “Zoo TV” tour) had the capability of working separately or in unison to create a surreal atmoshpere. In the center of the stage, the band performed amongst smoke and under retractable lights and strobe lights. At the front of the stage five lightbulb-encrusted, retractable, mall-style cages would lower and rise throughout the show, distancing the band from the audience.

When used, the cage lights would often coincide with the light panels creating a three dimensional light show that encompassed the band. Unfortunately, the array of eye candy would sometimes prove too much for the viewer, distracting attention away from the performance.

When the lights were removed, however, it was all about Reznor’s stage presence. Hits like “Hurt” and “Closer” showcased Reznor’s vocal talents and ability to make a crowd eat out of his hands. Songs such as “Burn” and “Only” presented a perfect blending of staged spectacle and musical perfection.

Though used mainly as backing pieces to Reznor, the most recent incarnation of NIN’s “other four” were able to hold their own, especially during a terrific cover of Queen’s “Get Down, Make Love,” in which Reznor’s so-so vocals were saved by brilliant playing from White, North and Freese. The talents of Cortini, however where overpowered by the men.

Always one for dramatics, Reznor and his bandmates closed out the show with back to back to back hits. “Hurt,” “The Hand That Feeds” and “Head Like a Hole,” sent the crowd (both wet and dry) into a frenzy and into the dark Columbus night.