With the release of HAARP being put back on more than one occasion, it’s been a frustrating, but ultimately worthwhile wait for this moment to arrive.

Over two nights, Muse proved yet again why they are a truly staggering live act, and why the only place that might be befitting of their actual magnitude would be playing on the surface of the Sun. Straight from the off, their date with Wembley has been captured in a way that is both breathless and beautiful.

As Matt Bellamy, Dom Howard and Chris Wolstenholme are raised slowly into view from the centre of Wembley Stadium with an excessive showering of tickertape, the confidence that bristled and crackled beneath cool exteriors and razor sharp stares proved beyond doubt that this wasn’t just a gig – this was the gig.

Making their way from their entrance platform to the stage, cameras pan from head height, instantly giving the trio the appearance of ten-foot rock titans. The confusion from their unlikely appearance is captured well, as shots flicker back and forth of fans looking around startled while Matt stood dormant, with one hand placed across his chest.

When Knights Of Cydonia rifles in, the crowd soon become a giant swathe of leaping bodies with the golden circle area in its split ‘v’ shape resembling a pair of lungs in a full-blown panic attack, with Muse acting as the erratic diaphragm. Guitar parts are shouted back towards Bellamy as his face melts into an expression of purified delight.

It’s moments like this that provide the greatest element to the film. Whilst chaos is unfolding around them, it’s the snapshots of the band merging together around Dom’s drum riser with looks of complete astonishment etched on their faces that says more than repeated crowd shots ever could.

Every bass string that trembles and every sinew of Matt’s clothing that gets scrunched around his frame as Muse lay waste to Wembley is available to see. It paints a near fly-on-the-wall documentary element to the evening, creating a portrait that no post-gig interview could ever match. The interaction between the curator and the audience is the real winner here, as you see exactly what it means to both.

A nice touch that were lapped up by the audience on Sunday, June 17 has cropped up, with the remote-controlled guitar ‘roadie’ given infrequent cameo appearances that often raised small cheers from the pit. In the regularly cut moments of ‘dead time’ on changeovers, it provides charm and character to events that are all too frequently sterilised in favour of a continual episode of live tunes.

Some sections have been given the ‘cutting room floor’ treatment though, like Bliss and its hoards of balloons that are a common sight at Muse’s gigs - possibly due to the over-familiarity of the event from happening. One thing that was never in doubt however was the introduction of the Cirque Bijou acrobats on heliospheres, appearing during Blackout.

As the camera rolls around the stage in instance, it’s possible to see Wembley as a futuristic space station, similar to the innards of the aliens’ mothership on Independence Day. In the futuristic setting, it’s even possible for Bellamy’s humble mic stand to look somewhat alien, even if it does look a little like Johnny 5’s wanking claw.

The momentum that gathers after the trio of Soldiers Poem, Showbiz track Unintended and Blackout is nothing short of incredible. The double-header of Plug In Baby and Stockholm Syndrome feels like a rebirth with no let-up in the intensity, before flames jettison out from front of stage with the climax of Take A Bow.

The helicopter above captures the moment like a star collapsing in a far-off galaxy - from the screen it looks like a twinkling fairylight. Then silence. A pause for breath is inhaled, and suddenly it hits that this wasn’t a gig played on top of Mt. Olympus with the world watching.

As the crowds bleed away into the many capillaries of transportation and the black swarm seen from the helicopter slowly dissipates, the real task of what Muse had done comes into full view. For a few hours, people had no other thoughts on their mind.

The in-crowd banter of friends teasing one another on screen, to seeing emotions swell around tear ducts like a blocked hose, is joyus. Instead of this being another big gig that comes on the mid-weekend of June, this was a full-on celebration. For once you see how the band honestly feel too, and it’s a tender moment.

For all of their protestations about the end of the world, Muse have managed to capture a world, that for a moment, was in perfect harmony.