Blur: Live at Wembley Stadium review: A Triumphant comeback
As a music enthusiast who grew up in the 70s and 80s, I can’t help but feel nostalgic and excited when I hear that the Proms are paying homage to disco music. I remember those nights at the local discotheque, surrounded by mirror balls, sequins, and glitter, trying to perfect my John Travolta dance moves.
BLUR: Live At Wembley Stadium (Parlophone)
Verdict: Triumphant comeback
EMPIRE OF THE SUN: Ask That God (EMI)
Verdict: Star-gazing dance music
At live shows, pop stars often express gratitude to their fans in a way that can seem contrived. However, when Damon Albarn spoke to Blur’s devoted followers – an impressive 180,000 strong over two nights – at Wembley Stadium last summer, it was clear there was more to his words than mere crowd-pleasing banter.
“This moment we’ve been eagerly anticipating for what feels like a lifetime is even more special with all of you here. Your presence makes it all possible,” Damon expressed gratefully.
At the second Wembley concert, I witnessed an emotional moment when Damon, deeply moved by the powerful ballad Under The Westway, couldn’t hold back his tears and knelt down in sincere reaction.
After describing the July 2023 performances as Blur’s finest, it comes as no shock that the band is celebrating their first anniversary.
A raw and authentic documentary titled “Blur: To The End” is currently showing in theaters. Starting in September, a two-hour concert movie will be released. Additionally, a fresh live album, available now, can be purchased on CD, vinyl, cassette, or digitally.
As a devoted fan, I can’t help but feel that no live recording truly does justice to the electrifying energy of being there in person. Yet, this particular performance brings a sense of the jubilant atmosphere that filled those iconic Wembley nights. After an eight-year hiatus from touring, Blur is back and better than ever. They’ve reignited the passion that defined their 1995 peak, when their intense rivalry with Oasis became front-page news across the country due to a fiercely contested chart battle.
In this passage, the significant parts are “Highlights here include” and the mention of specific Blur songs like “Parklife,” “Girls & Boys,” “Coffee & TV,” and “Song 2.”
Blur can be unpredictable. The album “Modern Life Is Rubbish,” released in 1993, served as the foundation for Britpop music. However, its unique songs weren’t intended for large stadium audiences and lose some impact during live performances: “Popscene” comes across as rough, while “Villa Rosie” causes a mid-set slump.
In contrast, the band’s introspective ballads aren’t interchangeable. These songs are ideal for sunny summer stadiums with their melancholic tones. For instance, “To The End” and “The Universal” are somber sing-alongs, while “Tender,” penned during Damon’s separation from Justine Frischmann in 1999, is a captivating piece accentuated by Coxon’s bluesy guitar riffs and the London Community Gospel Choir.
After performing at Wembley, Blur embarked on a tour that included Europe, Japan, and South America. They also played at Coachella in April, with Damon implying these could be their final performances together.
Based on my personal experience and observation, I’d say that statement about Blur being on sabbatical with Damon working on Gorillaz should be taken with a grain of salt. I have been following the music industry for quite some time, and I’ve learned that band members often use terms like “sabbatical” to describe breaks that may or may not be permanent.
Empire of the Sun, an accomplished electro-pop duo hailing from Australia, have achieved significant success in the music industry. However, since the release of their 2016 album “Two Vines,” members Nick Littlemore (producer) and Luke Steele (singer) have kept a low profile.
At first, their inability to be present was attributed to the pandemic, making it challenging for them to collaborate via Zoom. Meanwhile, Littlemore has been engaged with his other band, Pnau, which achieved great success in 2021 by releasing the hit single Cold Heart.
In their latest album “Ask That God,” Littlemore and Steele return with familiar styles. On their first record, “Walking On A Dream” (2008), they showcased a shimmering, futuristic disco vibe that has since influenced many modern pop artists, although often without the thoughtful cosmic lyrics.
As a lifestyle expert, I would describe it like this: On their latest album, “Ask That God,” I join the musicians on a captivating journey of sound. This record is more than just music; it’s an experience where my imagination and reality intertwine. The songs transport me to far-off lands, painting vivid pictures in my mind. Though the description might seem fancy, it accurately reflects the enchanting nature of their compositions that effortlessly explore the realms of fantasy.
On Changes, the universe ignites with lyrics depicting a non-stop dance party fueled by “a soulful radio station.” Cherry Blossom features verses touching on quantum physics concepts. Music On The Radio has Steele expressing neon tree imagery and referencing Tangerine Dream, a renowned German electronic music group.
The duo always keeps the fundamental elements of pop music in mind. The main track is reminiscent of ’80s synth tunes, while “AEIOU,” their collaboration with Pnau, also reflects this style. However, they remain grounded at times, such as in “Friends I Know” which revolves around conversations in a Tokyo bar; yet, they continue to strive for the heights of creativity.
Classic disco becomes disco classical in Proms boogie night
LIVE: Everybody Dance! The Sound Of Disco (Royal Albert Hall)
Verdict: Disco with strings attached
Last weekend at the Royal Albert Hall, I was swept up in a sea of disco fever during the Proms concert. Mirror balls hung above us, casting shimmering reflections on the eager faces below. People tried their best to channel their inner John Travolta with dance moves in the aisles. The atmosphere was electrifying as we paid homage to the iconic disco sounds of the 1970s and 1980s.
After last year’s northern soul exhibition, the Proms once again transformed a dance genre – this time disco – by adding a symphonic twist. With conductor Daniel Bartholomew-Poyser leading the BBC Concert Orchestra and an ensemble of soulful vocalists, disco hits were reimagined as disco symphonies.
As an obsessed fan, I can’t help but be transported back to the magic of Studio 54 every time I close my eyes and imagine a night out. Just like Bartholomew-Poyser described it, this legendary New York nightspot was the ultimate playground for artists, singers, actors, dancers, and writers. It was a place where we came to let loose, to dance until dawn, to sip on cocktails that tasted like pure euphoria, and maybe even indulge in some mischief. Nile Rodgers of Chic once famously dubbed it “Sodom and Gomorrah on steroids,” and I can’t help but smile at the thought of all the unforgettable memories that were forged within those hallowed walls.
At the Proms, thankfully, there was no excess or debauchery. Instead, a carefully curated playlist of 25 songs provided an enlightened blend of well-known classics and lesser-known gems. The hauntingly beautiful strings brought out the best in Odyssey’s Native New Yorker, while the trombone solo added a brilliant touch to Diana Ross’s I’m Coming Out.
Some popular songs, including Chic’s “Le Freak” and the Bee Gees’ “Night Fever,” received updates. Vula Malinga, who has worked with Basement Jaxx, brought intense energy to Gloria Gaynor’s “I Will Survive” and “Never Can Say Goodbye.”
It was unexpected that Barry White and his famed Love Unlimited Orchestra weren’t included. However, Walter Murphy, known for blending disco and classical music in the 1970s, managed to secure a spot. His renditions of Beethoven and Gershwin pieces were a great success, paving the way for potential future events.
How about this: All can now dance along! The disco tunes are accessible on BBC Sounds, with a broadcast on BBC2 set for a future time.
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2024-07-26 03:53