Coldplay
did its fans a big favor by holding Tuesday’s concert indoors at Time Warner
Cable Arena during the hottest week in recent memory. That decision was
probably dictated more by the glow-in-the-dark nature of the production than
the temperature.
Ticket
holders were each given a fabric wrist band with a small hard plastic box
attached to it upon entry. When Coldplay hit the stage with the upbeat title
track to its latest album “Mylo Xyloto” following sets by London-based rock
band, Wolf Gang and Swedish dance pop star Robyn, those bracelets lit up the
arena with over 17,000 tiny colored lights. It was one of many ways Coldplay pulled
its audience into the festivities and made the crowd feel less like spectators
and more a part of the show. Lasers danced through the air and circular
screens, including a large LED screen that hung over the stage, displayed dancing
lights and stage footage.
Coldplay
looked like it just came from a paintball fight. By the number of glow-in-the-dark
paint blobs on their loose fitting pants and casual t-shirts, it looked like Martin
lost and bassist Guy Berryman won.
Will
Champion’s resounding beat signaled “Mylo’s” next track “Hurts Like Heaven.”
Confetti burst from cannons as the song’s chorus kicked in.
Coldplay’s
use of electronic touches on “Mylo Xyloto” has been both criticized and embraced,
but other current influences were on display during those newer tracks as guitarist
Jonny Buckland’s intricate finger work echoed lesser known modern bands like instrumental
act Explosions in the Sky. “Heaven” ended with Martin in a backbend on the stage,
already glistening with sweat. He thanked the crowd and promised the best
concert of their lives. While that is a tall order, Coldplay proved again that it’s
a phenomenal live band.
The
mood escalated as it reached back to 2002’s “In My Place.” That song with its
familiar guitar intro was another example of Coldplay making beautiful often
subdued albums that play well on radio, but in a live setting those songs
become more dynamic and grander. “Major Minus,” “Lovers in Japan” and
“The Scientist” followed as the group approached another peak with its earliest
hit “Yellow.” Martin began the song quietly on his graffiti-covered piano tinkling
against the hum of Buckland’s guitar. Martin switched to his acoustic as the anthem
kicked in and yellow light cast over the crowd.
The
band gathered at the end of the catwalk for three songs including the
Rihanna-aided “Princess of China” (her vocals were piped in as she appeared on
screen). It was probably the most electronic feeling segment with Champion clicking
time on an electronic drum pad.
The
group was off to the finish beginning with the familiar strains of “Viva La
Vida.” Champion pummeled kettle drums and thrashed a big Liberty-style bell.
That gave way to the Cure-like guitar work of “Charlie Brown” and the anthemic “Paradise,”
which closed the set with a giant sing along.
The
band appeared in the audience toward the back of the arena where it began its
encore with “Us Against the World” and a partly acoustic version of “Speed of
Sound” before running back to the stage. There they ended with the
one-two-three punch of “Clocks,” the moving fan favorite “Fix You” (probably
one of the most well written love songs in recent memory) and ended with the
danceable single “Every Teardrop is a Waterfall.”
While
glowing bracelets would’ve betrayed anyone attempting an early exit, few dared.
Coldplay gave little reason to scoot out early. As with its 2009 concert at
Verizon Wireless Amphitheatre, Coldplay embraced its audience and wouldn’t let
it go.
“Thank you for the best job in the world,” Martin said before exiting the stage following “Paradise.” It is easy to imagine that his is just that.
As
for its reputation for booking stellar opening acts, Coldplay didn’t disappoint.
Wolf Gang struggled through sound issues rarely seen on a tour of this size,
but despite an unresponsive piano the quintet’s bouncy Euro rock and catchy
single “The King and All His Men” (currently in rotation on Sirius/XM
alternative stations) served it well as an opener.
With
her daring fashion (she began her set in a ballooning silver skirt and “Thunderdome”-like
vest), futuristic sound and original dance moves, Robyn can be a polarizing
performer. She turned in a set that at times felt more club than arena. The robotic
vocals of minimalist tracks like “We Dance to the Beat” and “Fembot” (which are
probably the coldest songs on her fantastic electro-R&B 2010 dance album “Body
Talk”) may have seemed an unusual introduction to those who weren’t familiar
with her. She did deliver more popular singles such as 2005’s “Cobrastyle,” and
the more current “Dancing on My Own,” “Indestructible” and “Girlfriend” which
had girls in our row copping her dance moves and singing the lyrics long after
she’d left the stage.
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