SBSR: Blur for high – Swab

It took nearly two hours of concert Blur in the Super Bock Super Rock, almost half an hour more than promised. The delivery of live Blur and especially the always restless and ambitious Damon Albarn did feel that this was a special concert, something that did not happen either in Primavera Sound in Porto two years ago.

Almost at one o’clock the point at dawn, the Blur come on stage to touch one of the new themes of “The Magic Whip”, ‘Go Out ‘. Damon Albarn comes with a largajão coat, offset with thin pants, repeating one of his most iconic images, the splash of water from a plastic bottle to the public, while roadie running several times to unroll the microphone wire English singer. Less stressed that the roadie was always smiling bassist Alex James, with chronic cigarette in his mouth.

Happy allegory of Madchester “There ‘s No Other Way ‘ is the first trip to the past and the first evidence we have of the public knowing the band letters in Meo Arena, even if the Damon Albarn microphone had failed sometimes. In ‘Lonesome Street ‘, Damon Albarn meets with the public to pull over the mood for new songs. Then appears on the right side of the trio of metals that emphasizes the British pomp ‘Badhead ‘ (one of the most overlooked issues of the 1994 album “Parklife”).

On the left is a quartet the voice chorus unable to distinguish greatly around the concert, as the percussion next. The right side of drummer Dave Rowntree, keyboardist has greater weight, despite the discretion visibility

We got a ‘Coffee & amp.; TV ‘, the time when Graham Coxon and Damon Albarn take turns: Coxon goes to the main voices and Albarn is in the dances and short hops with Alex James. ‘Out of Time ‘ provides the Damon Albarn your acoustic guitar solo. ‘Beetlebum ‘, much sung, is immediately recognizable by the first scratch of Grahem Coxon guitar. There are ice cream cones on the scene and suddenly there are three mirrors balls in rotation to the ballad sci-fi special effects keyboards ‘Thought I Was a Spaceman ‘ where Damon Albarn feels a visibly good mood looking at the public and that ‘Trimm Trabb ‘ jumps and esbraceja to the public and put himself beyond the VIP ring in the middle of the arena.

The public does not always maintains constant liveliness. Before the trip to the past to the forgotten ‘He Thought of Cars ‘, the public was not so familiar, the same can not be said of ‘End of the Century ‘ that after more than 20 years, is still a the most popular topics of Blur. “They want to sing a little louder?”, Challenges Damon Albarn, before launching the crybaby-gozão gospel ‘Tender ‘, a vocal breath resistance test to the public.

‘Trouble in the Message Centre ‘, another theme repescado of “Parklife”, motivates singer to give all you have, if inflitrando in the middle of a public issue that deserved to be sung. Soon after, Damon Albarn fulfills promised a frontline fan, John name, and called him on stage to sing with him ‘Parklife ‘. It was regabofe for all. Damon Albarn runs wildly around the stage as if still on the subject of the video clip, with the fan after giving her a tight hug the singer accepts warm and length.

The concert will already over but the emotions yet They slowed. In the new and reveler ‘Ong Ong ‘, rehearses up the first chord to the next alignment song, ‘Song 2 ‘, with many awoos , many jumps and even moshs. Return to connect the three balls of mirrors to the Anglo-French ballad ‘To the End ‘ but no one is French-speaking cue Laetitia Saedier (the lead singer of Stereolab who collaborated on the song), not even the choirs. But I could see with surprise Damon Albarn to curl up in a Portuguese flag. The famous fake closing ballad ‘This Is a Low ‘ in the middle of one of the best Graham Coxon guitar solos, double the time to final glory.

The band returned to encore started by ‘Stereotypes ‘ and continued by ‘Girls & amp; Boys ‘, when all the Meo Arena jumps and not only Damon Albarn. For the compulsive rhythm that is created between band and audience, this is an impossible issue of not touching a Blur concert. ‘For Tomorrow ‘ back smelling of scones and afternoon tea. But everyone was waiting for the moment ‘The Universal ‘, the monumental reminder of all final concert it was worth having returned. What a beautiful sight.

The stage Meo Arena was before on account of Belgian dEUS . The sympathetic singer and guitarist Tom Barman speaks Portuguese great, well seized by right in his frequent seasons in our country. The themes of the most recent years heard tonight, as ‘The Architect ‘ and ‘Constant Now ‘ illustrate the ability of the band in a more electronic reorganization. And they were dripping old themes like ‘Little Arithmetics ‘, ‘Hotellounge (Be the Death of Me) ‘ or ultimate ‘Suds & amp; Soda ‘, set on fire by the sound of ‘ Venus in Furs ‘(the Velvet Undergroud) Sharp violin Klaas Janzoons. But none of that together can counteract historical withered Belgians, which is not unconnected with the fact that only withstand two founders of the band: Tom Barman and Klaas Janzoons. Barman tonight celebrated the twentieth anniversary of dEUS in Portugal (debuted on national stages in Burning of the Ribbons of Coimbra), but the great time the band was in the Aula Magna in 1997, not in the Super Bock Super Rock 2015.

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