On the night of Luka for the third time from the blur

The stage lights were turned off for three hours, but Blur’s music continued to sound both outside and inside the city walls, as in a widespread concert. Between the tables in the middle, playlists from the bars’ speakers alternate with the first videos of the evening, low-res cell phones and steamy commentaries. A group of fans, obviously English, serenades the voices of girls and boys with the same solemnity as a stadium choir. It is the third time for the Colchester band’s only Italian history, ten years after they were last live in our country and twenty-four hours after the release of Darren’s song (Parlophone), whose already iconic shell punctuates the roads into the grassy terrain overlooked by the walls of Lucca.
The new album breaks Blur’s second longest period of silence, affirming their belief: If you don’t have anything important to say, you’d better stay silent. Severing, perhaps forever, the umbilical cord that bound them to the ideology and imagery of Britpop and the court of the ’90s, guests are the stones on Lucchese’s lawn. The band reunited for the release of their new album, “The Ballad Of Darren”.

of things to say, Darren’s song He has a lot going for him, for how he deals with aging, disillusionment, and death, and how he speaks to an audience more inclusive than that Generation X that found part of its history in Blur’s music. It is their most emotionally intense work, a manifesto for a new musical title in which Albarn’s side experiments, James Ford’s production (already with Arctic Monkeys and Depeche Mode) and Bowie’s mid-’80s soul converge. This is also the third time for Blur, whose live broadcast has the appearance of a pub party relocated to an arena. It’s just a song from the last album, Saint Charles Squareto open the curtain (and only the three songs will represent the new album in the lineup, which will be presented in full tonight – also live – at London’s Eventim Apollo).

Champions Cup, Oasis vs Bloorno one Pretend to be young or healthy. Even when he mentions indoor diving, the forward seems to want to poke fun at his past as a Britpop star: a star-studded white polo shirt, climbing barriers with the agility of a well-fed 55-year-old. The guys who made headlines thirty years ago Modern life is nonsense They become adults: Damon and Graham alternate between odd jobs and side projects, Alex produces cheese, Dave has given himself up to politics. Now they are together again without ever really breaking up.
In any case, a long absence from the stage requires a minimum of initial drooling duty, as does a completely non-standard attack. beetle. little thing. Even the audio system does not pretend to be a sound, which goes off after half an hour like in a pub. Starting again at #4 with Coffee and TV And Graham Cox starts to speed up. And this is how he understood it with the conductor: the voices intertwine, the guitars face each other. If their story permeates contracts with quarrels and reconciliations, then a Tuscan Saturday evening is a game of looks, laughter and a kiss of the first on the back of the second.
In one of his sparse spoken interjections, Damon says he feels charmed, “humbled,” by the richness of our culture, and tells of a church in the city he’s just visited: “So peaceful, so dead.” He also declared that the twentieth century was dead end of a centuryIt was followed without interruption by Country House, the first grand singing appeal to 35,000 spectators at the Lucca Summer Festival. Who exclaimed Albarn when he donned the famous suit of the original video boys girls – another way of saying: We haven’t been back in thirty years – and they exploded in two minutes Song 2 Very punk to hear it again today.

rhythmic He goes, despite some escape attempts by Rowntree, taken by Alex James who seems to have died there by accident, wearing Bermuda shorts and an unquenchable cigarette between his lips. Graham laughs increasingly, as if surprised at remembering all those old songs by heart. Damon keeps messing up narcissist, Evergreen in the Future, is among the most autobiographical songs in the entire songbook. It is impossible not to read in Cox’s interview the sign of a brotherly bond between two people who have survived heroin and alcohol addiction.
You come to rest with That’s low – Today we can say a hymn to resilience – and resume with barbaric (from Darren’s song), which is instead considered a log of dissociation. The whole ending alternates between the general and the specific. Self flexible Is destined to echo the chorus through the streets of the city, Globalism At the end of the ceremony, he regains his honorable mention, closing it with a situation-perfect combination: “Nobody’s Here Alone.” The third period can begin.