Blur - London Brixton Academy - 3/12/03
5/5
By: Thomas Hannan
It was only a matter of time before the pieces that were all up in the air fell into place. It was just difficult to predict such a comfortable fit.
Where early post-Coxon shows, although admirable, had always maintained a degree of not wanting to experiment quite too soon, Brixton Academy tonight finds Blur mark-2 in their stride. It's not the new material they're playing about with, however; instead they seem quite comfortable in their current surroundings (complete with choir, percussionist, saxophones and keyboards to name but a few) to revisit the old times and remind us of the astounding quality of their back-catalogue.
Only one song is lifted from 'The Great Escape', that being a heart-warming 'The Universal' to round off the first part of the set, contrasted with two (yes, two) from debut LP 'Leisure'. We were surprised 'She's So High' got a look in, but virtually bowled over when the opening strained piano-chords of 'Sing' emanated from the stage. Both are charming examples of Blur's early strategy - derivative, yes, but simplicity at its best. It's a set that acts like a musical 'This Is Your Life', indeed - just look how far they've come.
And look how many have followed... It's strange that such 'Leisure' classics get a muted response from the few who aren't ardent fans here tonight, especially considering that when then decide to crack out 'Me White Noise' (complete with Phil Daniels), the place goes ballistic. All this for what is remember a hidden 'Think Tank' bonus track recorded as a joke. This isn't a band with a tenuous grip on their popularity, rather one so assured in the constant admiration of their fans that they dare to confront them whilst knowing it's a test their audience shall willingly face up to. So 'Colours', a fanclub-only single, is given a rare live outing, along with the funk mess of 'Music Is My Radar' sounding better than ever.
But let's remember, this is a sell-out London show that lasts for over two hours. It couldn't all be long forgotten album tracks and oddities, oh no. For after all, what band do 'the hits' better than Blur? Perhaps there isn't one. So, predictable though it may be, 'Parklife' is a scream, 'Song 2' is chaos, 'Girls & Boys' the greatest disco song ever written and 'Popscene' the finest UK grunge track ever (although it would never admit to such a name). Newer material too is received as rapturously, even the strange dirge of 'Caravan' now mutating in to a sing-a-long wonder. They don't even feel the need to include singles from the very record they're pushing - no place for 'Good Song', or the somewhat nauseating 'Crazy Beat' here.
It's calculated, yes, but human too. In fact, perhaps more-so than ever, Damon Albarn comes across as an incredibly likeable character this evening. No excuses for missing that guitar solo on an otherwise glorious 'Out Of Time', just some shared jokes about how they'd 'played that ninety times this year and that's never happened.' No ridiculous posturing at the end, just running along the front row whilst the final chords of a marvellous 'This Is A Low' reverberate through Brixton Academy, trying to shake as many hands as possible. When it all could have collapsed, it's utterly triumphant. Blur are what so many other British pop groups could and dare not to be - a challenge, and all the more indispensable for it.
Artists in this article: Blur
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