03-Aug-08: Washington - Tickets, Preview, Meetups, Review/Photos [originally 02-Jul]

bluetieman

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I am a little new to the scene...are there cray DMB like tapers that post these show for download after taping? If so, can anyone recommend where to look for this particular show...I was simply blown away. Thanks!
 
P

pg0624

Guest
was just thinking...

i forgot to write before...

few of the other reviews from past concerts had mentioned this before and I loved that they did this: in between the official end of the show and the encore, after the O'Reilly clip, the video montage they played with the Thin White Duke mix of Talk was awesome. I was hoping they'd fit that song into the playlist and never expected it to be like that. I've had that remix in my head all day and had to download it. Great vibe for segwaying into Politik. I think I like it as much as the album version.

Also the Delacroix backdrop was really powerful. The painting itself is amazing and connecting it to the music brings the whole experience to another level.
 

SBrooks1

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Here's my favorite video I shot of Chris during "Lost" :D

[media]<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/Xvifu6MQ4L0&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><embed src="http://www.youtube.com/v/Xvifu6MQ4L0&hl=en&fs=1" type="application/x-shockwave-flash" allowfullscreen="true" width="425" height="344"></embed></object>[/media]
 

SBrooks1

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Another video I shot of "Viva la Vida" :D

[media]<object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/m6h19ublrHY&hl=en&fs=1"></param><param name="allowFullScreen" value="true"></param><embed src="http://www.youtube.com/v/m6h19ublrHY&hl=en&fs=1" type="application/x-shockwave-flash" allowfullscreen="true" width="425" height="344"></embed></object>[/media]
 

sconnecticut

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I'm sure someone's said it before but the thing Chris plays at the end of "Politik" is an actual piece of classical music. It might be Chopin although I'm not sure.
it is really driving me crazy that i am familiar with the classical piece at the end of "politik," but that i can't identify it! can somebody please help?! thanks. :)
 

Merwithani

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Wow - you had an excellent view! I like the the shot of Will playing the kettle drums - he's very intense in that picture. You have some great pictures of the band in front of the backdrop, too. Thanks for sharing!
 

strawberry_swing

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Wow - you had an excellent view! I like the the shot of Will playing the kettle drums - he's very intense in that picture. You have some great pictures of the band in front of the backdrop, too. Thanks for sharing!
Thank you for commenting! And you're welcome! We, again, had gotten tickets from this guy who was a crew member or something and were in the front row on the floor. My personal favorites were the Guy pictures, even though I think after a while he knew I was mostly taking pictures of him...
 

KissesBirds

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Thank you for commenting! And you're welcome! We, again, had gotten tickets from this guy who was a crew member or something and were in the front row on the floor. My personal favorites were the Guy pictures, even though I think after a while he knew I was mostly taking pictures of him...

Trust me, he doesn't mind! When I met him and Jonny with Mel and Angie and our Jonny sign, Guy asked where was our Guy sign?:laugh3: He loves the attention!:kiss:
 

KissesBirds

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it is really driving me crazy that i am familiar with the classical piece at the end of "politik," but that i can't identify it! can somebody please help?! thanks. :)

Eric Satie someone said. But I cant remember the title.
 

strawberry_swing

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Trust me, he doesn't mind! When I met him and Jonny with Mel and Angie and our Jonny sign, Guy asked where was our Guy sign?:laugh3: He loves the attention!:kiss:
Good. For a minute there I was thinking he might have thought I was a bit too obsessed... :D
 

KissesBirds

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I think the others are flattered that they have their own die-hard fans, not just Christopher Martin! Jonny appreciated his sign and came to play by us, so that proved he liked it. Especially since he almost never does that.
 

strawberry_swing

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Oh wow! How great! Jonny's just amazing and he was amazing last night too. Violet Hill sounded so perfect and, believe me, I got tons of pictures of him too. :)
 

KissesBirds

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Oh wow! How great! Jonny's just amazing and he was amazing last night too. Violet Hill sounded so perfect and, believe me, I got tons of pictures of him too. :)

Hehe, yes I saw your Jonny pics! He had some short sleeves!:wink3:

Yeah, I have been following what he does at each show during In My Place because he always goes down his ramp with Chris during that song. But at the second Chicago show on 7-23, he came down Guy's ramp. He never did that at all on this tour before that night. He met us and signed our sign earlier that day and was looking at Mel and I a lot during the show. We were in row 8. Then, out of the blue during in my place, he walks behind Guy and walks down the ramp. He stops right by Mel and I, who were 2 seats from the ramp, and plays a bit. We threw the sign up and our friend in sec 120 got a pic.





It's blurry, but you can see our square sign. And Jonny is right there, facing us!



Can you tell me if Jonny went down Guy's ramp alone during your show? So far, the only other time he has done it was for his girlfriend who was sitting over on that side during Toronto show. I know b/c a girl on here posted and was sitting with Chloe (his girlfriend).


.
 

busybeeburns

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Coldplay: Not Much Heat, Plenty Of Warmth



A few years ago, it became socially acceptable -- even mandatory -- to bash Coldplay. There were plenty of reasons, everything from the band's shameless, simplified aping of Radiohead and U2 (the most aped bands around) to frontman Chris Martin's ubiquitousness as part of a celebrity couple (see: Paltrow, Gwyneth), complete with absurd baby name. A review in this paper labeled the band's output as music for "medium-level dull people." The phenomenon peaked when one of the most popular comedies of recent years, "The 40-Year-Old Virgin," famously ended its string of "You know how I know you're gay?" remarks with one character telling another, "You like Coldplay."

But the only Coldplay bashing at the sold-out Verizon Center on Sunday night was when band member Will Champion attacked a giant drum with an oversize mallet during "Viva la Vida." The fans were truly, madly in love. They ecstatically clapped in time from the first notes of "Violet Hill." They tenderly sang along with Martin, often with more sincerity than the singer himself. And they took pictures. Lots and lots of pictures. So many pictures that Flickr might crash. One fan was even seen snapping away while the stage was cloaked in darkness. (The best description of a Coldplay crowd is this: Think of "Heavy Metal Parking Lot," the 1986 documentary of pre-show partying at a Judas Priest concert. The exact opposite would be "Coldplay Metro Car.")

The photography overload was understandable, though. Coldplay designed a nice visual feast for this tour, the main component being six giant spheres that descended from the rafters to show live video of the band from all angles. Of course, the perfectly scruffy Martin -- dressed in his by-now-standard 19th-century European battlefield jacket -- was the focus of most lenses, especially when he made his way out to the sides of the horseshoe-shaped stage.

As for the music, it was less a feast and more semi-filling hors d'oeuvres. There were scant surprises in the band's brand of anthemic arena rock, but that's part of Coldplay's comfortable appeal. "Yellow" still soared, thanks to Johnny Buckland's chiming guitar and Martin's trembling falsetto. "Lost" and "Lovers in Japan," both from the new album, "Viva la Vida," found the right mix of surge and sentimentality. The same could not be said for tedious piano ballads "Fix You" and "42." Another in that line, "The Hardest Part," was abandoned by Martin just after it started. "That's enough of that," he said, with knowing self-deprecation.

The main takeaway from the show was that Coldplay is no longer a band suffering from an identity crisis. Instead of following in the footsteps of its heroes and trying to pass itself off as the world's most important or biggest band, Coldplay seems content being a less adventurous but equally loved -- if not equally revered -- act. For all his sad-puppy-dog lyrics, Martin was an extremely playful frontman, hopping, prancing and skipping across the stage, thrusting his left arm into the air, goofy grin on his face.

When tens of thousands of pieces of paper came flooding from the rafters during the encore, it served as a perfect assessment of the band's current state. Coldplay is a band that will shower its fans with brightly colored, butterfly-shaped confetti while singing, "But I have no doubt/One day the sun will come out." And the band -- and especially its fans -- is just fine with that.

http://www.washingtonpost.com/wp-dyn/content/article/2008/08/04/AR2008080402466.html
 

busybeeburns

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Rock the Balls: Coldplay @ The Phone Booth

One strives to avoid the wholly predictable, but sometimes you just can't stave off the obvious lede that fate fairly dangles above your head:

Coldplay grow some balls.

Coldplay deliver ballsy performance.

Coldplay counter critics with raw ballin.’

Meaty, Beaty, Big and Pricey: Coldplay's Balls of Technicolour Fire.

Viva la Balls, or Death and All His Balls.


(Okay, so what was your brilliant idea, Mr. Christgau? Coldplay Go Globe-al? Weak.)

Retarded puns unretracted, Coldplay’s sold-out show at the Phone Booth last night was all about the balls — specifically, the half-dozen vaguely ominous, economy-car-sized white orbs that descended from the ceiling like Rover, the high-tech balloon-as-border-fence from the trippy '60s British TV show The Prisoner (stick with me, the most of you who have no fucking clue what I’m talking about) and displayed projected video around all 360 degrees of their surfaces. The balls were definitely the newest, most impressive props in a choreographed-to-the-second 85-minute performance.

No question, the show was state-of-the-art -- "the art," of course, being that of high-tech stage production rather than songwriting, which has never been Coldplay's long suit, exactly. Indeed, the Phone Booth show had originally been scheduled for a month earlier, and had to be postponed along with the first segment of the tour due to “production delays” — presumably those balls, since every other high-tech trick in the show, while impressive, was familiar from other visually-inventive tours, particularly those of — all togther now, friends — U2, the band Coldplay is most frequently accused of ripping off.


One thing we can say for sure is that while seeing Coldplay perform live — as with any artist that understands intuitively how to connect with an audience in performance — can only increase your estimation of the band's merit, it ain’t gonna dissuade anybody who thinks of them as merely the best U2 copyists to come along since Radiohead’s OK Computer-era evolution into something much more unique. (If Coldplay were even the least bit worried about the comparison, they wouldn’t have hired Brian Eno, midwife to all of U2’s most successful albums, to produce their latest, Viva la Vida or Death and All His Friends — winner of this year’s Mellon Collie and the Infinite Sadness award for album title that makes you most want to issue a wedgie to the clown who came up with it.) But the likeness is as palpable onstage as it is on record. Chris Martin, Coldplay’s ebullient, charismatic frontman, comes off as a taller, less garrulous Bono, from his loose-limbed, ecstatically reclined dancing to the way he seems surprised and delighted at but also completely at ease with having thousands of people gape at him. He’s a natural showman.

Coldplay’s set last night went heavy on Viva la Vida material, performing the album almost in its entirety, along with half of 2002's A Rush of Blood to the Head and a lesser sampling from their first and third albums. They certainly played every Coldplay song I needed to hear, and still managed to wrap up in less than an hour and a half — not exactly a marathon, especially considering that the top ticket price was $97.50. The show was expertly paced, however. The band performed behind a mesh curtain for the opening instrumental wash of “Life in Technicolor”, then slammed into first single, “Violent Hill”, as the curtain went up. A giant backdrop of the 1830 Eugene Delacroix painting that forms Vida's cover was suspended unnecessarily behind the band. Song 3, “Clocks” — the theme that launched a thousand movie trailers circa 2003-4 — brought the laser cannon barrage, and gave us our first glimpse of the video-testes in action.

Actually, 'twere only a single vidi-ball activated for this number, hung dead center of the arena. As the set continued, five more spheres would float down from black chutes in the rafters — the thought of sitting beneath a giant hen was difficult to avoid. Had all the vidi-balls been pressed into service initially, they could have eliminated the unnecessary and distracting video screen stage backdrop that replaced the album cover with the now-obligatory high-contrast black-and-white video footage of the band performing, which was probably much appreciated by the occupants of the 400-level sets but, closer in, competed distractingly with the the band itself.

The mid-floor B-stage was another idea Coldplay recycled to great effect (from U2, yes; at least that's who Keith Richards says the Rolling Stones stole the idea from) performing a rousing “Chinese Sleep Chant”. Pretty funny title for the hardest-rocking song on the album. Accompanied by more laser fire, it sounded echo-y and ethereal and great, even if it was so heavily processed it was impossible to tell if any of it was actually being performed live. Next up was a downbeat, whammy-bar heavy number. For a hopeful second, I thought Coldplay were going to show some Eno-love by covering "Life During Wartime" or something else from those great Talking Heads albums that Eno produced back when I was in diapers, but no such luck -- it was a rearranged, sinister “God Put a Smile on My Face”.

A few minutes later, Chris Martin cut whatever watery piano ballad he was playing abruptly off, saying, “That’s enough of that” before slamming into “Yellow”, the dumb-but-difficult-to-resist Y2K anthem that put the world on notice that even with their first album, Coldplay had designs on a hockey rink near you. The sepia-color-wash that accompanied the tune had me thinking of what Triumph, the Insult Comic Dog would have had to say about the performance, and that actually did put a smile on my face.

Events took a distinct upward turn when Martin, after botching an a capella coda to the tune apologized, saying, “Some days I don’t know whether I’m trying to be Johnny Cash or Barry Gibb. I hope in 10 years’ time to have the voice of Johnny Cash and the hair of Barry Gibb.” Yo, Chris: We’ll handle the snarky quips about your voice if you don’t mind, or even if you do. But that was a pretty good one.

After a pounding “Lost!”, the four Coldplay-ers leapt from the stage and ran across the floor through the audience, slapping hands while enveloped in beefy security guys. (I know you want to ask, and, yes, I have in fact seen U2 do this, too.) But then they did something I’ve never seen anybody do: They performed a pair of tunes, not quite in the nosebleeds, but from some random seats in the 200 level of the arena almost directly opposite the stage. “So this is what we’re like up-close,” Martin told the lucky occupants of that section. “Not that impressive, right?” His affable banter broke sharply from Bonodom when he said, “I’m going to stop talking because I’m starting to bore myself.”

A video-ball clip of Bill O’Reilly dissing Martin gave way to a sort of geopolitical mash up video while the band made their way back to the main stage to bash out a driving “Politik”. The closing sequence of “Lovers in Japan", “Death to All His Friends” and “The Escapist” was accompanied by a storm of glow-in-the-dark paper butterflies, blown aloft my confetti cannons. Perhaps it wasn’t the vidi-testes, but rather real butterflies -- feral, carnivorous, ravenous -- used in early dress rehearsals, that were to blame for the “production delays.” "Oh, God! Not the eyes! screamed people all around us as the winged beasties flew their hellish, day-glo sorties. Okay, so I made most of that up, but the paper butterflies were there, and people were screaming, albeit in fits of apparent euphoria. Though I did hear a few people grumbling on their way out about the sub-90-minutes performance time.

Coldplay have shows booked through the end of the year. Then, presumably, they’ll have to find something to do with the vidi-balls. I have a few ideas:

1) Both feature film and TV remakes of The Prisoner are in the works; the TV version is already in production with Jim "Jesus of Nazareth" Caviezal and Sir Ian McKellen in the two leading roles. The '60s version was pretty successful at making viewers afraid of a growling while balloon, but a growling white balloon that showed its victims live video of Coldplay before devouring them would be both topical and scary.

2) Rumor has it this other band will be touring again next year, one with a reputation for eye-popping live shows, chiming E-chord-driven anthems, and collaborations with Brian Eno. Coldplay has been stealing their sound and their stage tricks for close to a decade now; perhaps that other band would be willing at this point to return the favor. Or at least to give them a decent price for some gently used vidi-balls.

http://dcist.com/2008/08/04/rock_the_balls_coldplay_the_phone_b.php
 

manayer

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Aug 16, 2007
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Interesting review. I feel retarded cause it took me a while to figure out "phone booth" meant the verizon center lol.

An interesting sidenote: Taylor Hawkins the drummer from the Foo Fighters was there at the show. I was sitting in section 120 and he sat in the section next to us.
 

strawberry_swing

1991-2009
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Joined
Mar 11, 2008
Messages
165
Hehe, yes I saw your Jonny pics! He had some short sleeves!:wink3:

Yeah, I have been following what he does at each show during In My Place because he always goes down his ramp with Chris during that song. But at the second Chicago show on 7-23, he came down Guy's ramp. He never did that at all on this tour before that night. He met us and signed our sign earlier that day and was looking at Mel and I a lot during the show. We were in row 8. Then, out of the blue during in my place, he walks behind Guy and walks down the ramp. He stops right by Mel and I, who were 2 seats from the ramp, and plays a bit. We threw the sign up and our friend in sec 120 got a pic.





It's blurry, but you can see our square sign. And Jonny is right there, facing us!



Can you tell me if Jonny went down Guy's ramp alone during your show? So far, the only other time he has done it was for his girlfriend who was sitting over on that side during Toronto show. I know b/c a girl on here posted and was sitting with Chloe (his girlfriend).


.
You're so lucky that you've actually met them! I would do anything to meet Guy & Jonny! And for your question about Jon coming down Guy's ramp... I don't think he did. In fact, they all went to the ramps (both of them) as a group, but that was it.
 
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