The British group led by Damon Albarn was to Vincennes Thursday, June 2, Parisian stage of his European tour.
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Between two concerts in Barcelona, and before the continuation of a European tour which will return twice by France (June 15, at the ancient theater in Vienna, and the 17th at the Arena of Nîmes), Gorillaz opened, Thursday 2 June, the We Love Green festival. A slightly offbeat start -up, in the heart of the Bois de Vincennes – the event rebuttra its full on June 4 and 5, after an off Friday -, but it was the only way to accommodate, in Paris, this group remained a model Pop avant-garde.
Would we have bet on such a longevity when, twenty-one years ago, we discovered Clint Eastwood, the first single of the virtual formation imagined by singer Damon Albarn and the designer Jamie Hewlett? The song may be excitingly married dub saturated and juvenile pop melody, one could think that this group made up of comics characters would have the ephemeral life of a gadget.
Thursday evening, the enthusiasm of the 25,000 spectators (many of whom, too young for having discovered Gorillaz at his beginnings), listening to around twenty songs from half a dozen albums, recalled The consistency of a repertoire and the visionary relevance of a concept. Acceleration of stylistic mergers, variety of collaborations announcing that of the playlists of listening in streaming, creatures anticipating those of the metarers … Gorillaz had enough in advance not to take a wrinkle.
The group’s first concerts camouflaged the scene behind screens on which Jamie Hewlett ‘animations were projected. The real musicians only appeared in Chinese shadow, as if Damon Albarn feared that his status as a star of the Britpop within his other group, Blur, pollutes Gorillaz’s credibility. Now surrounded by fifteen instrumentalists and choristers, the Londoner no longer has this false modesty, when he enters the stage of We Love Green, dressed in a flashy pink tracksuit and a matching cap.
Specifically advancing towards the crowd to commune as close as possible to her, Albarn assumes, at 54, the paternity of these creations without sacrificing the characters drawn by her accomplice. During the whole concert, the giant background screen and the other two located on the sides are inhabited by the appearances, performances, adventures and postapocalyptic trips of 2D, Russel, Murdoch and Noodle, respectively singer, drummer, bass player and guitarist of this group of paper and celluloid.
postpunk and dub connections
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