To appreciate what a great rock show can offer, a Nine Inch Nails show should be on every concertgoers itinerary. I'm not just saying that because I fall in love with nearly every piece of music Trent Reznor produces. OK I am.

But speaking from as objective a viewpoint as I can, the kind of concert Nine Inch Nails creates not only requires stamina and pretentious adoration, it kind of demands it.

Wednesday night’s New Jersey gig at New Jersey’s Izod Center proved Reznor, along with guitarist Robin Finck, drummer Josh Freese, keyboardist Alessandro Cortini and newly crowned bassist Justin Meldal-Johnsen (of Beck and Garbage) were prepared to "blow these people's fucking minds." And that they did, as they always do.

Though an extremely tame GA section was no comparison for prior gigs, perhaps fans are now reflecting Reznor’s more matured manner – controlling the chaos in an area once dominated by sheer self-hatred. Gone are the days of the destitute club gigs that led them all the way up to the pre-With Teeth tour.

This particular tour showcases stage effects previously unseen by the band, showcasing a visual hypnosis of customized stage lighting. If every Nine Inch Nails song was a color, a shadow or sequence of epilepsy-inducing light patterns, the screen that stood behind (and sometimes in front) of the band teleported it into the crowd. Succinctly showcasing each mood, rhythm and pace of songs like “Vessel,” “The Greater Good,” and the lightning storm that was “Wish,” Reznor & Co. accomplished a sound and light show fit only for a major band at the mercy of a major arena.

Though a direct stage left side view didn't allow me to fully appreciate what the effects had to offer - thank you, exclusive pre-sale - sound and band member viewpoints from here were nearly flawless. Though Reznor lacked his signature string of shrill screams and plowing through his equipment with his old-time fiery passion (read: heroin addiction) he succeeded in belting out new tryouts and classic head-bangers alike.

The show had a slow start with Slip openers "999,999," "1,000,000," "Letting You," and "Discipline." It really took off after “March of the Pigs” which never fails to get a crowd going. A 3-song Ghosts intermission bought about a perfect interpretation of “The Greater Good” held me over while “Survivalism” and “The Hand that Feeds” broke through.

While staples like "Piggy," "Pinion/Wish," and "Gave Up" remained intact, sweet surprises like "Reptile," "The Big Comedown," and new show-closer "In this Twilight" showcased a still enthusiastic singer pushing his way into his 40s.