Music Features

A Question Of Sound #4: Confronting Those Coldplay-Shaped Demons

The date is 29 November. It’s a Saturday night and I’m clutching two tickets for Coldplay’s grand homecoming gig in my right hand. It’s a strange and not entirely comfortable sensation.

I’ve climbed the concrete steps to Sheffield’s Hallam FM Arena on just two occasions, and for good reason, too; its enormous stage generally plays host to revolving cast of nastiness – Cliff Richard is coming soon, along with a line-up of 80’s has-beens, High School Musical On Ice (I kid you not), and Girls Aloud. Actually, I wouldn’t mind seeing Girls Aloud, but there’s very little else to get excited about on the Coming Attractions list. As my pulse begins to race (the work of those steps, not a surge of adrenaline), I start questioning myself: what I’m hoping to get out of tonight? A snarky put-down masked as a live review? Probably. It would be fun to write, but would anyone derive any value from such an article? Is there anybody out there who hasn’t made their mind up about Coldplay yet? I doubt it.

I have a chequered history with Coldplay. Eight years ago, overcome by the euphoria of finishing my ‘A’ levels, I made a fateful decision that still haunts me to this day: I awarded Parachutes the coveted 10/10 rating. I have an array of excuses, youthful naivety and temporary insanity among them, but, if I’m brutally honest, I still consider Coldplay’s debut to be a reasonably worthy record (a 7 perhaps), and I can fully appreciate how it catapulted the band to international stardom. What Chris Martin and his relatively anonymous friends have commited to tape since has been, with a few notable exceptions, horribly dull, but in that respect the Coldplay story really isn’t much different to that of one of the band’s major influences, U2. The only difference is that U2 enjoyed a much more productive period of relevance; once it had expired, however, the fallout – faceless arena shows, political posturing, bland records accompanied by bold promises – was largely the same.

Given my longstanding indifference to Coldplay and the sheer volume of great, non-Coldplay related music that I own, it’s no surprise that, beyond the singles, I haven’t spent a great deal of time getting to know Viva La Vida. Just because I enjoy writing about music, it doesn’t mean I that I feel a need to listen to any particular release; the idea of a perceived importance based on commercial success rather irritates me, actually. In a similar fashion, I have also managed to successfully exclude The Killers, Kings of Leon and Snow Patrol from my life, rendering my personal world a rather happy little place. You should try it sometime.

But, just when I thought I knew where this feature was headed (because, let’s face it, I was practically writing it from my seat in row ZZZ), Coldplay arrived and – much to my surprise (oh, ok, my disgust, too) – didn’t completely bore me. And Chris Martin seemed... well, almost human. While a lot of the music did mesh into an inoffensive, pedestrian whole, there were actual standouts, too. Put simply, Coldplay managed to stay on the good side of middling long enough to force me to put my carefully sharpened knives away and actually listen to the music. And some of it wasn’t half bad.

I’ve always had a soft spot for The Scientist; tonight the band performed it from an elevated position in the second tier, right at the back in the arena; ok, so it was a lame stadium rock trick, but it couldn’t stifle a stripped-down, honest performance of one of the band’s signature tunes; bizarrely, the ending of the song incorporated a chorus from Take That’s Back For Good. Who was it that said Chris Martin was humourless automaton? Oh, that was me! Sorry, Chris, I partially retract that statement. In contrast, another apparent fan favourite, In My Place, sounded embarrassingly weak, providing a wholly inappropriate soundtrack to some comical rock star moves from Martin and guitarist Jonny Buckland; there’s a reason this track hasn’t been liscensed to the Guitar Hero franchise, after all.

As the evening progressed, I couldn’t help but feel that the real jewel in Coldplay’s live crown is not Chris Martin but – and stick with me on this – drummer Will Champion. Not only does Champion come across as the most likeable member of Coldplay, but his muscular drumming seemed to single-handedly carry many of the band’s songs, particularly the newer material. This was a surprise to me, as I’d barely noticed his contributions on record, and, when I saw the band at the much smaller Leadmill venue way back in 2000, I distinctly remember feeling that he and Berryman were limiting factors in the band’s live sound. Yet when the band relocated to an illuminated mini-stage to perform a techno version of Talk, which had Champion bashing away on electronic drum pads, the presence of his thunderous live kit was sorely missed. (I know this song started life as a Kraftwerk rip-off, but this laughable flirtation with synth-pop was truly nauseating and it smacked of a desperate attempt at injecting some variety into the set.)

When there’s little of substance going on in terms of guitar and bass, a strong rhythm track is essential, which explains Champion’s dominant role on the likes of Violet Hill and Speed of Sound. The more I thought about this, the more I realised that Coldplay’s stronger cuts are either acoustic/piano ballads or percussion-heavy rockers in which Messrs. Buckland and Berryman contribute little more than window dressing. Or, at most, a knocked off riff from Joe Satriani. Oh, sorry, that was just a coincidence. For all his posing during In My Place, there are precious few tracks – only Shiver spings to mind – on which Jonny Buckland is leading the way. For one of the world’s biggest rock bands, this strikes me as a sad state of affairs.

But I feel I must sign off on a positive note, because I did leave this show with the faintest hint of a smile on my face. The band members might look ridiculous in those military-inspired outfits (Adam Ant, anyone?) and the idea of four millionaires playing throwaway pop songs in front of Eugène Delacroix’s Liberty Leading the People is bordering on the offensive, but, despite all of that, it’s still possible to enjoy an evening in the presence of Coldplay. Even if you’re wary of the band’s records, Chris Martin and his chums do know how to put on a show. It might be a clichèd, stadium-filling show, but isn’t that what we come to places like the Hallam FM Arena for?
 

Comments for A Question Of Sound #4: Confronting Those Coldplay-Shaped Demons

DO you Hate yourself! I sure

DO you Hate yourself! I sure sound like you do! You need Love man a lot of it !!!! xoxoxoxoxoxoxoxo

YOUR DEMONS NOT THEIRS!

MAN THEIR LOVE MADE YOU SHIT OUT YOUR OWN HATE ! NOW START TO LOVE YOURSELF NOW!!!!!!!!!!!

WHO IS DAVID?

DAVID DOES NOT KNOW WHO HE IS IF YOUR LOST YOU WILL MAYBE FIND YOURSELF IF YOU COULD LOVE YOURSELF EVEN A LITTLE!

BYE! FOREVER!

coldplay: not your typical mainstream band.

Each member of Coldplay plays a vital role in their overall sound. Johnny Buckland contributes just as much as any other member of the band, if not more. He plays his guitar with craft and a more subtle touch. He knows when to take lead and when to step back and add his more delicate ambient backing riffs. He is one of four individual parts that contribute to the collective whole of Coldplay's signature sound. He is not trying to be JOE SATRIANI or the next Slash...

And I completely agree with your comments on Will Champion.. He did seem to add a much needed burst of musical energy to the band's setlist. He and Buckland both deserve much more credit as musicians.

I agree that the commercial success of Coldplay is a bit nauseating, to say the least.. BUT, i still strongly believe that Coldplay is not your typical mainstream band.. Take away their "experimental" French revolutionary costumes, ignore the obvious U2 comparisons, ignore their arena-band status, and somehow try and ignore their mainstream success... Instead of criticizing Coldplay as just another shit mainstream band, we should swallow our "indie" pride and respect them for putting sincere music back on the Top 10 charts for once. The mainstream does not hear it, but Coldplay has been inspired by all the greats: Dylan, Floyd, Jeff Buckley, Johnny Cash, Radiohead, Beatles, Echo & the Bunnymen, and many many more. Consider Coldplay as our guys on the inside.

Don't hate, love!

I'm getting a bit fed up with the hate of mainstream bands from the indie underground. As soon as any band becomes successful, they suddenly suck? You mentioned three of them, Coldplay, The Killers and Kings of Leon, critically acclaimed right up until they became popular, now they are insipid. Today's critics are the most pathetic bunch of self-serving gits I've ever seen put pen to paper. I honestly don't think Coldplay are best band in the world, but they're far from the worst. Maroon 5, Matchbox 20, Nickleback, Foo Fighters etc. There's tons of successful bands out there that are toxically shit, yet critics seem to waste all their energy ragging out the big bands that are actually good.

Sounds Quite Accurate

Dave,
I don't think there will ever be a day I will find myself at a Coldplay show, but I must say this seems like a pretty accurate description of what I would imagine it to be. Good job placing your vitriol aside in the presence of the insipid self-servitude that must have taken center stage. Coldplay, Keane, Snow Patrol... I hope the bubble bursts soon. At least you managed to piss some people off with this piece. Job well done.

And keep on ignoring philistines like Kings of Leon.

shit/hate

You shat out all your hate, with love. Merry Christmas.

Dave, good review. I don't

Dave, good review. I don't think I could possibly bring myself to attend a nauseating modern day Coldplay gig, so on that front, I applaud you!

Like yourself I remember being enthused about the debut album. Listening back to it now, tracks like Shiver - with drumming from Champion adding that necessary edge - still feel as fresh as ever. As you say, 10 was probably a touch generous, but it shows 8 years on that the feeling that this band would 'make it big' was correct.

Tracks like In My Place were the beginning of the end for me. I can hear its plodding pace in my head now. They then carried on with a similar formular, tried to come over as quirky, experimental frontier breakers then came back again with more boring corperate durge.

You won't catch me at a Coldplay gig anytime soon!

indie pride

i agree with everyone here that mainstream music is basically shit.. but, we must swallow our indie pride and give support to certain bands that have made it big (kings of leon, killers, coldplay, etc.). there is definitely plenty of room to criticize certain moves these bands have made after becoming mainstream. kings of leon's new single "use somebody" is obviously an over the top single.. yet, despite the arena-sound, it is still quite an impressive tune.. as cool as x&y was the first week it came out, it was no "rush of blood to the head" or "parachutes." the production and instrumentation was amazing, but the majority of the lyrics were kinda shit. the sincerity appeared to be gone...

although "viva la vida or death and all his friends" appears to still lack some of the band's original sincerity, it is of great improvement to the over-produced x&y.. there are key moments on the new album that give me hope that coldplay still has the same level of sincerity as their parachutes/rushofblood-era.

i too wish that these bands would have not drifted so far away from their original spirit. and its quite a bummer that shit mainstream fans have jumped on the bandwagon to hear talented bands such as coldplay and kol...

i swallowed my pride and went to a kings of leon show a few months ago and was disgusted by the crowd. cell phones and unnecessary discussion were more important than the actual show (really pathetic group of newly acquired fans..). it sucks to know that the bands we once fully supported are now available for the listening pleasure of the overpopulation of clear channel zombies.

BUT, i still believe that we should take a few steps back from our indie pedestal and support these select FEW bands that have made it big. good for them for finding such large success, and yet, too bad for us.. but, it is what it is.. and look on the brightside: when your ipod or cd player happens to crap out in your car... at least now there are a couple of bands on the radio that aren't complete shit..

Did you shit yourself at MBV

Did you shit yourself at MBV with love?

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