Blur reflect on bucket list Wembley Stadium gig in their latest concert album
Stay ahead of the curve with our weekly guide to the latest trends, fashion, relationships and more
Stay ahead of the curve with our weekly guide to the latest trends, fashion, relationships and more
– Blur – Live at Wembley Stadium
“Wow” is the first word you hear Damon Albarn say as he steps on stage for the biggest gig of Blur’s career.
A year on from their two huge Wembley Stadium shows, a double live album commemorates the Britpop survivors’ crowning moment.
Relive the brave decision to start with new song St Charles Square, before poppy early hit There’s No Other Way.
A punky version of fan favourite Popscene precedes Albarn saying “we’ve been waiting for this moment all our lives – it’s lovely to share it with you”.
The introspective Beetlebum is transformed into a stadium-sized anthem, while the second half of the album brings a run of their biggest hits.
A boisterous “oi” heralds the arrival of Parklife, which on the night saw guest star Phil Daniels emerge from a hut.
The “all the people, so many people” was later sung on repeat in the lengthy queue for the Tube and then on the packed trains.
A fast and furious thrash through Song 2, dominated by Graham Coxon’s distorted guitar, sparks another mass singalong, as does breakthrough 1994 smash Girls And Boys.
The London Community Gospel Choir join the quartet for an epic Tender, before last track The Universal, with its chorus “it really, really, really could happen”.
Well, it really did happen, and this album will recall a memorable night for those who were there – and make those who weren’t wish they had been.
Score: 8/10
(Review by Matthew George)
– Porter Robinson – Smile
Porter Robinson’s third studio album, Smile!:D, is a lively electronic mix, opening strong with single Knock Yourself Out XD – a tongue-in-cheek track about the curse of public adoration for a celebrity.
The track is a fun single, adding brightness to the 10-track mix with carefree, silly lyrics over some fuzzy electropop sensibilities.
Cheerleader explores parasocial relationships between fans and artists, laying the groundwork for the album to navigate the struggles of Porter Robinson’s growing popularity and his career.
The synth-pop mix takes a more open, honest and vulnerable direction on Russian Roulette, with a classic motif showcasing Robninson’s smooth vocals, keeping it lively and easy to listen to.
Robinson seems more like a tortured artist across this release, using a bright, poppy backing across most of the tracks to keep a lifted mood, creating a sense of detachment.
Kitsune Maison Freestyle is a simple track, packed with charm and Porter Robinson’s unique, signature sound, with a sweet, upbeat chorus keeping it compelling.
Overall, the album is catchy, easy to listen to, and upbeat enough to dance to despite the pessimistic themes it explores. Robinson’s new record is unmissable – packed with singles, short, and sweet.
Score: 7/10
(Review by Carla Feric)
– Cults – To The Ghosts
Cults, the indie duo known for lo-fi songs featuring the delicate vocals of singer Madeline Follin, stay true to their synth-pop roots with fifth album To The Ghosts.
Follin and Brian Oblivion, real name Ryan Mattos, have crafted their unique sound over the past decade, but their specialty for dreamy-sounding reverb-heavy songs has sometimes hindered their progression as a band.
In their latest offering, the duo focus on texture, layering Follin’s vocals with synth, strings, backing vocals, keys, and in the track Open Water, the sound of a brass instrument.
Follin has said the music on this album feels “more romantic” and added that “the vocals and the lyrics really helped inform the direction rather than the other way around. Every track brings me back to what I was going through at the time.”
The pair have certainly pushed their creative boundaries while persisting with their 1960s/70s psychedelic rock style, notable with tracks like Eat It Cold and Honey.
Score: 7/10
(Review by Hannah Roberts)
– Empire Of The Sun – Ask That God
On their fourth album, Australian electro-pop duo, Empire Of The Sun, deliver more groovy synth beats and futuristic sounds, but there are more than a few weak moments.
Opener Changes offers high-pitched glam vocals over a pounding synth beat, with its catchy chorus of “this time we’re going through changes” easily worming its way into the back of listeners’ minds.
Ask That God showcases a sound which will already be familiar to fans of the group, with second track Cherry Blossom recalling the sound of breakthrough single Walking On A Dream.
While the album is hardly groundbreaking, it is at times very fun, with its upbeat phaser submerged sound leaving the listener feeling like they have just eaten thousands of sugary sweets, particularly on The Feeling You Get.
But the high does wear off at the album’s midpoint, with AEIOU’s dated EDM sound unfortunately recalling cheesy Europop artists such as the Vengaboys.
The album threatens to become annoying with its in-your-face pop assault, until Revolve introduces a sun-kissed, psychedelic sound reminiscent of fellow Aussies, Pond, and computer glitch backed Wild World takes things down a notch.
Epic six-minute song, Rhapsodize, begins to close the album in dramatic style, with its futuristic computerised narration transporting listeners to future days, with a sound which would work perfectly at the duo’s flamboyant concerts.
But, unfortunately, the album closes with its weakest track, Friends I Know, which is an annoying and basic ballad that sounds out of place with the rest of the album.
Score: 6/10
(Review by Casey Cooper-Fiske)
