Coldplay’s Music of the Spheres tour, which includes six sold-out nights at London’s Wembley Stadium, is coming to a close, and I wish I could have been a fly on the wall during the production meetings.
After Coldplay said in 2019 that they would halt touring until they figured out how to make it less harmful to the earth, many people would have thought about the tour’s environmental impacts.
One of The Best Illustrations
Those who doubt the band should know that their once miraculous glowing wristbands are now composed of biodegradable plastic.
The dance of colour across the auditorium, like a murmuration of starlings, is one of the finest displays in stadium theatrics, and everyone with even a passing familiarity with Coldplay shows knows this.
Ninety thousand bouncing people’s energy can be captured by the floor’s electrical system. Chris Martin is a walking energy source, and he would be perfect if they could just plug him in to sing the tunes.
The group is said to transport goods with minimal carbon output; nonetheless, given their Tigger-like cheerfulness and propensity for releasing brilliantly coloured balloons, they might be the best actor to ever pull off a fleet of Phileas Fogg–style solar–powered hot–air zeppelins.
Two songs into this expansive, career-spanning collection, on Adventure of a Lifetime, the gigantic beach balls make their appearance, in a move that both puzzles and amazes.
What I wouldn’t give to have witnessed the band members’ reactions when Martin (supposedly) sketched out a set of lurid, light-up alien masks for them to wear on Infinity Sign.
Bassist Guy Berryman has a Marvin the Martian Mohican, and the rest of the band wears hats replete with antennae, eyes, and ears. Coldplay’s eighth studio album, Music of the Spheres, was released last year, and a central theme of the record is that “everyone is an alien somewhere.
” While I admire the band’s stand, I can’t help but wonder what Martin (probably) said to his colleagues’ skilled multimillionaires to convince them to act like crazed football club mascots while playing their instruments.
Did no one raise any objections about the use of puppets, however novel they may be? The non-human Angel Moon “sings” on a couple of tunes in Music of the Spheres, which has a space opera vibe and has some non-human actors.
Angel Moon was created by the Muppet masters of the Jim Henson Company, and everyone knows how much they adore their Muppets.
Martin sings a duet with her (controlled by a puppeteer) on Biutiful, a tender love ballad about the redeeming qualities of love even when everything around you seems to be going to hell in a handcart (even if handcarts are green modes of transport).
Puppetry may have an artistic pedigree, but this merely seems to be aiming at a demographic so young we can’t even begin to define them. Coldplay appears to be pursuing the under-10 set with this release,
despite the fact that their collaboration with BTS, My Universe, has reached members of Generation Z and that their collaboration with Selena Gomez, Let Somebody Go, has found success with millennials.
Did nobody else see that Angel Moon is a poor parody of Grimes, the long-haired, frequently winged, alien-looking electronic musician whose own projects draw considerably more expertly on the history of science fiction?
This is not a little matter of embarrassment. To continue to talk about how uncool Coldplay is is the height of uncoolness; the band has long since rejected such simplistic dichotomies. The most popular band in the world for a long period of time. We’ll have to call it a day on this discussion.
Tonight, though, marks the finalisation of their transition from rock to genuine light entertainment. The issue is not Natalie Imbruglia’s 1993 earworm Torn, which she performed on the third night of the residency, replacing Craig David; rather, it is the enormous chorus of Summer Nights from Grease.
Martin explains that he and his father met the late Olivia Newton-John when touring Australia with Imbruglia before she passed away. However, performing music from musicals, as popular as it may be, is a different story.
Coldplay appears to have thrown caution to the wind in their chase of the massively popular joyful singalong, borrowing liberally from the entire canon of dance music in an effort to attract ever-larger crowds.
For their 2014 album, A Sky Full of Stars, Coldplay teamed up with the late producer Avicii, marking the moment when Martin and the rest of the band became particularly enamoured with the thrill of superstar DJ raves.
After the success of Stargate (2015) and Something Just Like This, they continued to branch out.
Their pop appeal has always been well-deserved, the result of catchy melodies, a charismatic lead singer, and songs that speak to a wide audience.
After much trial and error, they settled on the “Woah oh oh” as an Esperanto equivalent that would allow them to communicate just as well in Taipei as they can in So Paulo.
But at some point they started aggressively spreading, developing into a worldwide musical sensation. Max Martin, the largest of them all, has left his stamp on Music of the Spheres.
His production approach is still influencing pop music 22 years after his biggest hit, “…Baby One More Time” by Britney Spears.
The missionary Martin’s expansionist zeal is baffling. Clearly, Coldplay is not the type of group to engage in macho urination competitions.
Those with even a little knowledge of environmental concerns will tell you that exponential growth is a hubristic fantasy and that the fundamental concept of capitalism is ultimately to blame for the impending breakdown of the earth.
Does size really matter, though? When he’s down to nothing but his piano and a broken heart, Martin is at his finest.
Seeing 90,000 people become crazy for a band they love is a tonne of pleasure. The utter visual and auditory chaos of a stadium event is what draws the crowds.
Certainly it is necessary for bands to develop. Without this large outreach programme, though, Martin is more than capable of nailing the human condition.
With 90,000 backup singers tonight, he belts out “Nobody said it was easy” from his latest album, The Scientist, a line that is as relevant to resolving the climate problem as it is to keep one’s work alive nearly a quarter of a century into the game. “I had no idea it would be this challenging.”Please stay tuned with TheActiveNews.Com.