icecoldplay

Security was lax. Nobody bothered anybody as far as I know. CHRIS' VOICE WAS ALMOST PERFECT. It was so much better than Twisted Logic.

JUST GOT BACK! AMAZING show. Yes- the setlist was predictable, and Yes- there was no encore. But I have never heard Chris's voice sound so on point. The whole band was on top of their game tonight. They made it feel like a huge arena show but also like it was in your living room. Excellent and free.

I too have extra won tickets that I'm giving to friends. I called MSG and they said it really shouldn't be a problem if I'm there to flash my ID for them. He said it's impossible to check every ID in the building, it's mostly strict on will call.

I know for a fact the opener is Hopkins

The letter says doors 7, show 8. Jon Hopkins is the confirmed opener for the show. I may be moved to the floor due to a perk in my dad's company? SO I'M PRETTY STOKED.

tomorrow!!!

Why hasn't The New York Times reviewed VLV yet? Wasn't this album essentially Chris's response to their negative reviews?

Barely any resemblance IMO.

Def not at WaMu. My section is 312. Close to the stage but high as hell. I'm really anxious to see who's gonna be on the floor....

I didn't really catch how the joke was sexist towards Frida Khalo? I think Chris was just saying that, in general, a nice pair of "melons" is a nice inspiration haha. Was it the right thing to say? No. But it's not like he said "Frida Khalo had great melons." I think Chris is pissed off that everybody is looking at this album at one big epic about dying. I think he wants it to be seen as a positive outlook on death, but this guy kept calling it "morbid". Not the interviewers fault, and Chris could have been a little more patient. But how much time did he really have to get the real message of the album out in one short interview slot? As far as the band defending him, when the interviewer asked "Did I upset him?", what were they supposed to do? "Yes, you pissed him off, no ask me the next question..." Overall it's an unfortunate moment for the band on such a big day. Chris has changed. I really don't like him when Coldplay is in the spotlight. On a brighter note it was nice to see Chris marketing the album with Will, as opposed to another Chris-Jonny appearance.

YES! I'm staying in Times Square with all my friends the night before after prom. I don't plan on sleeping that night so I'll definitely go straight to the show - probably cranky and tired - but I'll be there! Second time seeing coldplay that week mwahahahahaha

Maybe it comes with the album =] Either way, I feel silly for bitching and moaning for 3 days about a 7 digit confirmation number lol.

New review from an ex-Coldplay hater. This is easily my favorite review thus far, as it presents a convert to the good side: Coldplay - Viva la Vida or Death and All His Friends 3-Chord Wonders Broaden Their Horizons. Johnny Firecloud, CraveOnline June 10, 2008 Rate this article Share this article Through some logic beyond my cynical vision, the masses are rabid for this new Coldplay album. When the Yellow hitmakers released the first single Violet Hill as a free download on April 29th, 2 million people downloaded it in a week. The song is good, a promising indication of the band's evolution. So, still not swallowing the '50 million Elvis fans can't be wrong' pill, I downloaded the leak last night with skepticism on high. See, I badly wanted to hate this album. I'm no fan of Coldplay, and had every intention of declaring instrumental electro-pop opener "Life In Technicolor" the best song on the record, for the simple fact that Chris Martin's pillowy melodic annoyance is mercifully absent. The entire thing could be a backing track for an old Death Cab For Cutie song, and that's really not a bad thing. But goddamnit, the 'oooh oooh''s around the two minute mark (which appear in more epic form three minutes into title track "Viva la Vida") are subtly and beautifully epic in a way that bands don't seem to know how to put together anymore. Coldplay have apparently taken lessons in grandiosity this time around, with Martin setting out to explore a decidedly lower singing range and Jonny Buckland's guitar work taking on a more majestic tone than on any of their previous work. Electro wizard producer Brian Eno has helped the band build a surprisingly organic-sounding album with Viva la Vida or Death and All His Friends. It's full of shimmering synth meanderings, string sections and soaring piano movements that weave tightly with Martin's ruminative obsessions with duality (couldn't even decide on one name for the record), delivered in a much more evolved manner than I certainly wanted to give them credit for. The haunting atmosphere intro to "Cemeteries of London" sets the tone for an impressive, rising sound with underlying tones of, uh, Riverdance? Buckland’s searing solo minimalism pierces the thick rhythmic fog while Martin lays a darker variation of the standard platinum-megnet melody, conducting a backup chorus that's eerie and Gaelic as well. "Lost!" - Stomping handclaps and funked out church organs lend a gospel air to this one, building to a crescendo that's disappointingly lacking in mojo, and even reeks of Radiohead theft. If you want to talk about rising sounds however, "42"'s a good place to start. Pensive piano chords are the backdrop to Martin's shotgun-in-the-mouth fagcore vocals, making for an underwhelming suicide theme song until about 90 seconds in when the pace changes and things pick up rapidly. That's when shit gets epic, bursting with energy and more of those fucking handclaps. "Lovers in Japan" starts off with gleaming pianos in outer space before bursting into a galloping arena-pop piece that would serve as a great show-closer. The song takes you into the narrated moment, and it's a lot more heterosexual than the bonus acoustic version. "Reign of Love" is a dreamy roll through heaven's flowerbeds, delicate and distant. There's a beauty to this song that truly threatens to make me a fan of this band, but Yes is wounded, middle-of-the-road and never really goes anywhere. Nice guitars, but otherwise skiptastic. "Chinese Sleep Chant" is hazy, with lyrics you can't understand, but it's oddly hypnotic. Feels like staring out the window of a fast-moving train after breaking up with your girlfriend. But you did the breaking up, not her. Are you sick of "Violet Hill" yet? Because it's going to be on all kinds of commercials and "Remember the 00's" compilations until nuclear armageddon hits. "Strawberry Swing" is pretty and captivating in a light, Beatlesque kind of way, but it sticks to safe ground and feels half-hearted. No room for that if you're trying to make an epic album. "Death and All His Friends" is another rising tide, and an impressive reminder that the band's live show will hit a new high with these songs. But after the wave crashes the song rolls back out to sea, allowing "The Escapist" to glide in on translucent wings to close the album with a reprise of the opener. Pretty pianos and pulsing synths give way to Martin singing And in the end/ We lie awake and we dream of making an escape, before the song lifts into the stratosphere. On their fifth release, Coldplay occasionally veer perilously close to U2's turf ("Lovers in Japan," "42"), but they do so sparingly. My only real complaint here is the overall sense that Coldplay are trying to be all things to everybody with this record, and it results in a bipolar atmosphere that lacks a sense of direction. Are we celebrating life and spiritual evolution? Or mourning the cost of revolution? You never can quite tell. Biased premonitions aside, however, Coldplay's fifth offering is unpretentious enough to take its name from a painting by Frida Kahlo (it translates to "live the life"), even though the cover art features the French painting Liberty Leading the People, which about as pretentious as they come (I told you the album was bipolar). It's good enough to satiate the devoted, and although it won't move mountains or part the seas, it's probably enough convert a good amount of new blood. Overall, Viva La Vida or Death and All His Friends qualifies as an epic musical piece. it's an album by a band who's harnessed a winning formula and pushed it to a new level, adding some flair along the way. Crave Online Rating: 7.8 out of 10

Shot not. Man this sucks :(

Very very true

Considering they didn't push back the MSG day...I wonder if that show is just going to be plain and lame.

X & Y was the most straightforward album I think I've ever heard. Everything was spoon fed to us with clear cut song layouts, repeated lyrics, etc. VLV is much different. Some of the best moments of the album you can miss as they only last seconds long. Songs aren't quite set up like they are "supposed" to be. As the fellow above me said, VLV isn't as radio-friendly as X & Y was. Viva La Vida has taken the radio by storm, but I don't see the album's masterpiece, 42, being requested across the country. This album requires patience by the listener.

Every song never released as a single...with the exception of The Hardest Part.

Chris's voice was horrible during the majority of the X&Y tour. It's not going to get any better as long as he does all of that jumping and running around.

There was a recent MTV interview where the band highlighted the album track by track. Guy and Will did the majority of the talking. They're fine.

I can't even listen to half of X & Y anymore after this album. Some of X & Y seemed like a step in a terrible dance music direction. Then they came out with bullshit like Things I Don't Understand. This album is a step back in the right direction, and buckland does a fabulous job with some of his riffs. Chinese Sleep Chant sounds like it came straight from In Rainbows, but it's nice to hear a soft Martin after a hard Martin in Yes. I'm very very very worried about how this album will transfer live. Chris needs to sit down and control his voice and man the piano a little more. I hated the running around on the X & Y tour, and by some of the new live videos it doesn't look like that's gonna change. I saw a lot of background tracks rather than live musicianship on some of the newer live vids. I think if any other band besides Coldplay put this album out as a debut album the critics would eat it up. But the boys made a very poor decision by hyping this album so much. They didn't need to call it a masterpiece before it hit any ears but their own. There was more than enough hype behind the album simply because they are who they are. I think if they didn't boast so much about changing their sound, this album would have been received a lot better. In conclusion...it took me roughly 8 listens through the album to appreciate it. It's a fantastic album and it's much better than X & Y in my opinion, which contained some of Coldplay's worst songs ever.

any winners get the confirmation yet for the ticket order??

Another review-this one favorable from Telegraph.co.uk Pop CD of the week review: Coldplay - Viva La Vida Last Updated: 12:01am BST 07/06/2008 David Cheal reviews the Pop CD of the week, Coldplay's Viva La Vida The rest of the week's new releases: Joan as Police Woman, N*E*R*D and more Coldplay Viva La Vida or Death and All His Friends Parlophone, £11.99 It's not often that the release of a CD is expected to have an impact on the economic fortunes of a global corporation. A global brand as well as a band: ColdplayBut Coldplay are now a global brand, as well as a band, and as such the performance of their new album is crucial to the fortunes of their record company, EMI, which was bought a year ago by the private equity firm Terra Firma. No doubt the bean-counters at EMI have now heard Viva La Vida (Spanish for "long live life"), and if they have any musical sensibilities at all they should be breathing a huge sigh of relief, because Coldplay have just got bigger. Thanks in part to the band's apparently inexhaustible supply of fat, juicy, epic tunes, and thanks also to the production skills of Brian Eno, the man who broadened U2's horizons in the Eighties, they have surpassed even the widescreen glory of its predecessors. Opening with a spine-tinglingly beautiful near-instrumental thing called Life in Technicolor, and using a newly expanded musical palette - strings, timpani, thrumming bass grooves - singer Chris Martin and his bandmates unleash a masterfully constructed sequence of emotion-drenched songs. There's a new sense of adventure in the songwriting, too, as tracks such as 42 and Lovers in Japan/Reign of Love suddenly veer off in unexpected directions. Rather less noticeable are the Latin American influences that are meant to have infused the band's songwriting after their travels to that continent: frankly, this is about as Latin American as Prokofiev. The album's onslaught of instantly affecting and emotionally uncomplicated music will, of course, also be music to the ears of Coldplay cynics, the substantial wedge of doubters who, like the New York Times critic John Pareles writing in 2005, are dismayed by their "calculated self-pity" and meticulously honed bombast. advertisement But for those who are prepared to take Coldplay at face value, to presume unless there is evidence to the contrary that this an honest collection of songs from a band doing what they know best, Viva La Vida is a bright, warm, rich and strikingly memorable album.

Coldplay.com says this.... From 6pm tonight (UK time) you can hear our new album in its entirety at our MySpace page - www.myspace.com/coldplay - as long as you're in one of the following places... - UK - Ireland - Europe (except Holland, Belgium, Switzerland and Spain, sorry) - Australia, New Zealand - Hong Kong, Singapore, Malaysia - India - Russia - Canada - Brazil We hope you like it. Can they actually tell? Or in theory could you just hear it on say UK.Myspace.com?

Seeing them in Montreal in August. The best of album released by EMI is a disgrace. Those songs are meant to be heard in the context of the album, not bunched together like a volume of Jock Jams.