The Internet can be hatched, can feed and kill desires with a terrible levity.
In recent weeks, wildly circulated the news that Damon Albarn had to be dragged after five hours of performance of the project Africa Express at the Roskilde festival in Denmark. As much as their physical and musical delivery was different, the lead singer of Blur crawled across the stage as he could, from which almost became legitimate cherish the hope that it could come to pass in Lisbon, while headliner the second round of the Super Bock Super Rock (SBSR). It did not happen.
Also, any being who had given the scarce trouble to consult the alignments concert of Blur realize that in recent months the changes have been minimal and can be provided almost 100% which topics to be played and in what order. Where the idea that each concert is unique and unrepeatable, that sweet illusion in which the public is allowed to pack voluntarily seemed overwhelmed by a very clear truth. However, given that the Blur started by Go Out , There’s No Other Way and Lonesome Street , and finished with Girls & amp; Boys, For Tomorrow and The Universal , a pristine sequence of what has been its practice of recent stage, the band took the stage Meo Arena late on sexta- Friday did not seem buffeted by repeating the same songs for the umpteenth time, and would venture to say, proved to be even more vital than in 2013, the Primavera Sound.
If, at the time, the reunion with Blur was largely an emotional issue, in 2015 the blur we see on stage, although sharing much of the repertoire, use the new songs of Magic Whip as fuel naturally more flammable to visit the past. Of course the same moment that Damon Albarn pulls the audience to each other to emphasize the final words of Coffee + TV (“ Could we start over again ‘) not today causes same smile accomplice who believed two years ago to be listening to the confession that the return to the albums could in fact be on the way.
But this quest for healthy survival signals is now sufficient evidence in the way musicians tread the stage, sharing noticeably good-layout and an enthusiastic delivery which came to be little more than anger and resentment; the way Albarn calls by a member of the public to participate in “Parklife” and ends up fleeing the guy on stage while it pursues desperately trying to make a contribution to the theme; or the apparent good artistic moment in which we find in Albarn and Graham Coxon two particularly inspired interpreters (one may never sung so well, the other was not always so accurate you manage the micro bully guitar explosions in pop songs ambition environment) .
The menu still part Out of Time, End of the Century, Tender, Song 2, To the End or This Is a Low , issues that require both the vocal cords of the public (which Albarn calls repeatedly) as of itself, since to show signs of some weariness in his voice at the end of the 18 themes of the first pass through the stage. Encore , and finished a very strong performance, Stereotypes had to join the aforementioned three final issues with the singer to take the mention of Greece (this vacationer destination sexual celebration for British teenagers in the 1990s) in the verses of Girls & amp; Boys to blink of an eye to the country.
This is the Savages
Despite the absolute consistency of the route of Blur, without steps false or true lows disk (onstage, Simon Tong entry to the place of Coxon would be another story), I can not yet rule out the idea that in 1997 when they acted in the first edition of the Festival Southwest, we would be closer to the optimum time to see the English band live. This feeling that if you currently have before a concert of Savages. And it’s a feeling you would get short-circuited, since the sound of the quartet seems to spit the early 1980s, affiliated to a post-punk which refers continuously to the contemporaneity of Birthday Party and Siouxsie and the Banshees . But the urgency of raw songs led by Beth Jehnny either belong to the present, however much this past abocanhem.
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