Christa42

This is a sweet article. I love photography so it's nice to see a photographer's perspective. http://www.tulsaworld.com/scene/seen/seen-wrapped-up-in-music/article_6d500738-dcbd-56a7-845c-c7e19a1d8f46.html Seen: Wrapped up in music A woman in the VIP section dances while confetti falls around her during the Coldplay concert at the BOK Center in Tulsa on Thursday. NICOLE BOLIAUX/Tulsa World Posted: Sunday, August 28, 2016 12:00 am By Nicole Boliaux Tulsa World | 0 comments The best seat at any concert is in the pit. At least for the first three songs. As a photographer at a concert in an arena as big as the BOK Center, it can be overwhelming. You are in a pack of five to 10 other photographers and are only allowed to move a few feet in either direction. Everyone is fighting over the best shot of the performer. I wanted to capture the best moment of the Coldplay show Thursday night, whether it be on stage or in the crowd. I watched the people around me in between shots of the performance. A woman in the crowd not too far from me caught my eye. She was completely taken over by the music. With her hands in the air and her eyes closed, she completely encompassed the ideal concert experience. Whoever you are, mystery woman, I’m glad you had such a wonderful time. People in the VIP section take iPhone photos during the Coldplay concert at the BOK Center on Thursday. A couple in the VIP section embrace during the Coldplay concert at the BOK Center. Chris Martin, lead singer of Coldplay, performs at the BOK center in Tulsa. John Clanton 918-581-8453

Thanks so much and welcome to the Board :)

Continued: Did you find initially, because you were not a drummer first and foremost, that you had four other drummers in the room – the band and the producer – all saying ‘do it like this’? “We always talk a lot about each other’s parts because the song has to work, that’s the most important thing, to support the song. So there’s always a kind of, ‘Well, can you try that?’ or, ‘how about this?’ or, that was a bit too complicated, or that was a bit uninspiring, can we try that, can we try this, but always positive, you know? We enjoy exploring and trying new stuff, trying to be inspirational to each other and help each other create something new. That’s my trademark – wait. Keep waiting... keep waiting... and then at the last moment possible come in and steal the limelight at the end! “I find that helpful actually, I don’t find that I can trust my ears during a drum take in a studio, I don’t know whether I can tell it’s great, so you rely on other people to tell you that. I have great memories of being in the studio and finishing a take, thinking I wasn’t sure about it, and then looking up and seeing the boys in the control room, everybody thumbs-up. It’s a really great feeling, so I think I definitely rely on other people to let me know whether what I’m doing is good enough.” What tracks do you think show you at your technical best, or best ‘feel’-wise? “I’m really proud of the things where it’s absolutely boiled down to its bare essentials. I’ve never really been one for overly intricate patterns, so I consider it a success if I’ve managed to do as little as possible, but make it absolutely convincing. So songs like Viva La Vida is just a kick drum and a bell, and a little bit of timpani here and there, but it’s so simple. “We tried so many different things with that, four-beats, rock beats, everything – but nothing worked. So it was a case of you’ve got to strip absolutely everything away to its very, very bare minimum. There are so many intricacies on the violins and the melodies and everything I just felt it’s got to be absolutely simple with no frills, just support the song.” There’s a case to be made more for what you don’t play in a song though isn’t there? On a track like The Scientist you come in late but it’s really effective when you do. “That’s my trademark – wait. Keep waiting... keep waiting... and then at the last moment possible come in and steal the limelight at the end!” o you obviously aren’t one to overplay, but early on were you tempted to through youthful enthusiasm? “I’m not sure that I was. I think I was nervous, really, I never felt I was good enough to show off, so that’s partly where my style has come from, I think, just wanting to support the song as much as possible – whether that’s by not playing for 75 percent of the song or by playing something very simple. But it was a feeling of not wanting to intrude on the song. “When I grew up, melody was the most important thing to me. More than lyrics, more than rhythm, it’s just melodies. So whatever I could do to push that to the front, to help that along was what I wanted to do. So the occasions where I would, when we played live, try something, more often than not it would fail! So there’s a way to deal with this, which is to not bother! Just keep it simple!” On the last big tour there was something about the front five songs that absolutely annihilated me. Some of your songs, like Clocks or God Put A Smile On Your Face or Politik, the beats are really quite relentless, so that must take a lot of stamina and put a lot of strain on your wrists? “Yeah definitely, and my forearms, you get a build up of lactic acid in your forearms and then you can’t grip any more, and you start to lose control of the stick and you’re just holding on for the last beat, between my finger and thumb, when you can hit the crash cymbal! I find that it depends on the pace of the show. “On the last big tour, on the Mylo stadium tour, there was something about the front five songs that absolutely annihilated me, the first song, coming in cold and playing Hurts Like Heaven which is quite fast, it just left me struggling. I was always playing catch up from that. But this one, maybe ’cos I’m fitter than I was, I’ve been trying to keep in good health, I find the pace is less demanding and because we have a lot of the big numbers towards the end I feel like I’ve got enough left in the tank to do that justice. “But in previous years if you start big it’s very difficult to sustain and with a lot of singing as well... in Viva La Vida I’m standing whacking a bell and timpani and a bass drum and singing at the top of my range for the whole of the outro, that’s normally when I feel like, ‘Christ, that was hard work!’ And it’s really lungs-bursting, but I love it, I absolutely love putting that effort in because again it translates in front of a lot of people and people think, he’s really going for it, he’s really giving it everything – and that’s what makes a great show.” So tell us about your new kit... “It is the new Yamaha Recording Custom. Yamaha has been lovely enough to help me out from the very beginning. I’ve been playing maple kits for the best part of 10 or 12 years. My first kit was a Yamaha 9000, but ever since rush of Blood I’ve been playing a maple kit which I’ve loved in varying sizes. “We had a huge bass drum for Rush Of Blood and then it started getting smaller. We had a few months after we’d finished the record [A Head Full Of Dreams] before we started to tour where we could go in and really dig into the live sound and how best to translate what we’d done in the studio to a live setting, specifically knowing we were going to be in stadiums. And there was a feeling that we could improve our live sound. As obviously the triggers is one side of it but the source sound, the kit, we wanted something that would not sound out of place with a lot of the modern sample sounds we were using. “So we asked Gavin [Thomas, Yamaha Drum Product marketing manager] what he had, and we got the new version of the maple and we lined that up against my old maple kit, and he said, we’ve got this new one coming up, the new recording custom, which is a top secret, ‘Project X’ sort of thing. So he brought it down and we had them all lined up, and specifically the kick drums, and spent two or three days just putting them through their paces and recording stuff with them and then listening back through eight different speakers and in different contexts, and it just seemed to have the right balance of weight and control and precision, which was the thing that was lacking with the maple. “That’s a bit more reverberant and woolly, which was great and suited me for many years, but it was a great opportunity to try something new against some of the other drums out there. Even with blind listens – Dan our sound engineer wouldn’t tell us which was which – pretty much unanimously it was the best sounding one, because it had a lot of front-end, which is crucial to cut through, but also some serious weight and depth in the kick drum, and that really sort of swung it. Gavin said that they could get a couple of kits ready in time for this European tour and we obviously jumped at the chance.” Drums Yamaha Recording Custom kit: 22"x16" bass drum, 13"x9" rack tom, 16"x15" floor tom; various snare drums Cymbals Zildjian: 20" K Heavy ride, Brilliant finish; 18" A Custom Medium crash (x2); 14" K Custom Dark hi-hats Plus Heads: Remo Coated Ambassadors; ProMark Hickory wood 5A drum sticks, Yamaha hardware, Roc N Soc drum throne; e-drum pads (x2); electronic percussion pad.

http://www.musicradar.com/news/drums/will-champion-on-world-domination-with-coldplay-new-kits-and-the-art-of-waiting-640887 Will Champion on world domination with Coldplay, new kits and the art of waiting By Chris Burke (Rhythm) 8 hours ago Drums Coldplay man reveals all on his new Yamaha kit Coldplay have come a long way in the last 15 years. Head back to 2001 and the band were fresh-faced indie-rock sensations, riding high on the back of anthemic tunes like Yellow and Trouble from 2000’s Parachutes debut. It was one hell of a landing for the band, and a steep learning curve in particular for Will Champion, who could not call himself a drummer when he first joined frontman Chris Martin, guitarist Jonny Buckland and bassist Guy Berryman on the kit. It’s been basically 15 years of touring... A decade and a half on, he has become one of the world’s most accomplished drummers. Coldplay are now one of the biggest bands in the world, and we bear witness to their popularity as 55,000 fans go mental in Glasgow’s Hampden Park stadium as Will and co deliver a storming set comprising hit after hit, with blasts of fire, volleys of fireworks and clouds of confetti adding to the kind of spectacle that only the hugest of bands can command. Although given that time is short in a hectic schedule that, after all, was supposed to include a round of pre-show cricket with their mate Shane Warne, when it’s time for our audience with the drummer, we decide to just jump straight back to 2001 and our last interview with Will – just after the release of their first runaway-success of a debut, Parachutes. Will, last time we interviewed you, you spoke about getting to a point where you needed to learn more technique to keep up with the rhythmic ideas you had in your head... so, how did that go? “[Laughs] It went very well, fortunately! First, I’ve done a lot of practice since then! It was a steep learning curve, definitely, but there is no better place to learn than on tour. I think where I came a little bit unstuck initially was going straight into the studio, and I found that difficult. I’d never been in a studio before and I’d played a few gigs live but I think if you give a lot of energy in a performance then you can be forgiven for not having great technique – in the studio I think it becomes obvious pretty quickly if you don’t know what you’re doing. So after we spoke those many moons ago, it’s been basically 15 years of touring and so a lot playing and a lot of improving, a lot of watching other drummers as we were playing with other bands, soaking up as much information and as many ideas as possible.” By the second album, A Rush Of Blood To The Head, you’d clearly all improved massively as musicians – is it true to say you’d spent a lot more time working on your technique by then? “Definitely, I think it was honed over a huge amount of touring. It’s funny now when I listen back to those records, on the rare occasion I do, I can really tell what I was listening to, who I was influenced by. Around the time of Rush Of Blood To The Head, we started to get into Echo & the Bunnymen, and we started to get into Neu!, Krautrock, and Kraftwerk – just starting to sow those seeds... we were quite free, there was a lot of acoustic-y stuff and soft sounding rhythms on the first record, and on the second one we discovered a way to play with slightly more of an edge, but still getting the emotion of the song across.” Did that suit your playing style better? You’re obviously a very hard hitter! “Not initially, that’s the thing – I think all of these things are influenced by your surroundings. As you start to play bigger places you become aware of the need for it to be visual as well and I think that’s something we’ve always thought a lot about in our band, how it comes across on stage. Jonny and Guy have got a lot to do technically so it means they can’t run around a lot. And at the time of Rush Of Blood Chris was at the piano a lot and I felt that the show would benefit and the band would benefit from having something a bit more visual, so arms flying around a bit. By the second album, A Rush Of Blood To The Head, you’d clearly all improved massively as musicians – is it true to say you’d spent a lot more time working on your technique by then? “Definitely, I think it was honed over a huge amount of touring. It’s funny now when I listen back to those records, on the rare occasion I do, I can really tell what I was listening to, who I was influenced by. Around the time of Rush Of Blood To The Head, we started to get into Echo & the Bunnymen, and we started to get into Neu!, Krautrock, and Kraftwerk – just starting to sow those seeds... we were quite free, there was a lot of acoustic-y stuff and soft sounding rhythms on the first record, and on the second one we discovered a way to play with slightly more of an edge, but still getting the emotion of the song across.” Did that suit your playing style better? You’re obviously a very hard hitter! “Not initially, that’s the thing – I think all of these things are influenced by your surroundings. As you start to play bigger places you become aware of the need for it to be visual as well and I think that’s something we’ve always thought a lot about in our band, how it comes across on stage. Jonny and Guy have got a lot to do technically so it means they can’t run around a lot. And at the time of Rush Of Blood Chris was at the piano a lot and I felt that the show would benefit and the band would benefit from having something a bit more visual, so arms flying around a bit. “Because there are wonderful drummers but if you’re standing at the back of a big arena, sometimes you can’t tell if a drummer’s even moving! These amazingly gifted technical players, and they’re wonderful to listen to, but I want to be able to see what they’re doing and if you don’t have cameras on the drums then the occasional big haymaker makes a difference, and people think, ‘Oh he’s really into it.’ Right off the bat I didn’t have the confidence to play loud or heavy, I just was focussed on not f**king up basically!” Would you say there’s a trade-off there between chopsy playing and the showmanship needed for the big stadium gigs? “There are elements to it, I agree with that – there’s less room for subtlety in bigger arenas. But having said that there’s a lot of stuff that we’re able to do now with using drum pads and sequencers and things like that, that really provides a lot of that sort of nuance but with clarity. That’s one of the great things we’ve discovered through our sound engineer, really boosting the kit with electronic samples and you can then have power and clarity but with intricacies and a bit more detail. But it definitely is the case sometimes, if I was to listen back to just my drum performance throughout a whole show, I’d be able to pick holes in it, every song, but it’s really about the end product. What is happening in the stadium, with these 80,000 people – are they enjoying it? That’s really the ultimate. If someone says, oh, he was a bit sloppy today, as long as people are singing and people are enjoying themselves, that’s what gets me going.” When you go into the studio, and when you’re in the writing process, do you feel that you are able to do a little bit more technical drumming, and is it always in your mind then, how is this going to come across when we go to play it live? “Yeah definitely. It’s funny, I was thinking about that when we were recording the last album. We were doing a lot of drum takes, but I would be trying to put down a drum pass and maybe in two or three takes [they’d be], ‘Yeah I think we’ve got it,’ and I would be suspicious immediately because previously, on the first album, it would be 25 or 30 takes before I got anywhere near it. “So I thought to myself, well actually you have been playing the drums most days for the last 15 years, it’s no surprise you’re getting a little bit better! It’s quite nice to have that moment, to think, actually I can do this. It might not be a particularly difficult drum part but there’s no reason I can’t do it in one or two takes. But initially I’m always suspicious, I always doubt that it’s possible to do it quickly and efficiently and play it really well. It’s nice to surprise yourself.”

[MEDIA=instagram]BJiYyOHAqxd[/MEDIA] Mobile Link: https://www.instagram.com/p/BJiYyOHAqxd/?taken-by=marcushaney

Ate too much pasta for lunch and I am supposed to be carb free this week

Trust me you will like this, A little "Fix You" and a very important message, be an organ donor! https://www.youtube.com/watch?v=TeVLxcekEsw Mobile Link: https://www.youtube.com/watch?v=TeVLxcekEsw

Reminder to post your reviews in this thread for a chance to win the AHFOD Buttons contest http://coldplaying.com/forum/index.php?threads/contest-enter-to-win-a-set-of-ahfod-buttons-pins.107438/

Bump! Reminder to post your reviews here for a chance to win

So Adele is playing MSG for 6 dates, one day off which is the 24th, wonder if she might make a surprise appearance?

Thank you, From this great artist who was at the Sirius Talkhouse show in Amagansett. I am following him on Twitter too. We posted some of his pics in the thread http://coldplaying.com/forum/index.php?threads/2016-08-07-coldplay-to-perform-a-secret-show-for-siriusxm.107470/page-5 Michael Paraskevas ‏@GreenMonkeys

FURTHER DATES TO BE ANNOUNCED! and great news for Clive (which we knew:))

NO.14 - VOL.10 The band have today revealed the video for A Head Full Of Dreams, the fourth single to be taken from the worldwide hit album of the same name. Watch it now. The video was filmed in Mexico City during the band's sold out Latin American stadium tour in April. Directed by Marcus Haney and shot predominantly on Super 8mm film, it features the band cycling to their show at the city's Foro Sol venue (where they set a new attendance record). The video begins with Charlie Chaplin's speech from The Great Dictator, which also opens the AHFODtour live show. PREVIOUS AHFOD VIDEOS UP FOR VMAS The videos for the album's first three singles - Adventure Of A Lifetime, Hymn For The Weekend and Up&Up - have already been viewed a combined 962 million times on YouTube! They have also earned the band three nominations at the upcoming MTV VMAs in New York, for Best Rock Video (Adventure Of A Lifetime) plus Best Direction and Best Visual Effects (Up&Up). You can vote for the Best Rock Video award - up to once per day - by clicking here (thank you). AHFOD TOUR UPDATE The U.S. leg of the A Head Full Of Dreams Tour resumes this weekend with two nights at LA's Rose Bowl. Click here for details of the upcoming shows in the U.S. and Australasia. Further dates for 2017 are expected to be announced soon… ALBUM OFFER AT iTUNES For the next two weeks, the A Head Full Of Dreams album is available from iTunes for just $7.99. Click here to get it now. Promising news for Clive. The Coldplay Messenger

Never know what he will play! [MEDIA=twitter]765875445149626368[/MEDIA] Mobile Link: https://twitter.com/KygoMusic/status/765875445149626368

Weeeeeeeeee!

Love waking up to this. Marcus, Coldplay and Mexico, you have outdone yourselves, just brilliant.

:bliss::love::loveshower::dazzled: [MEDIA=instagram]BJTWCplgs2-[/MEDIA] Mobile Link: https://www.instagram.com/p/BJTWCplgs2-/?taken-by=marcushaney

[MEDIA=twitter]763456723076182016[/MEDIA] Mobile Link: https://twitter.com/GreenMonkeys157/status/763456723076182016

http://patch.com/new-york/easthampton/gallery-coldplay-concert-drawings-shared-local-artist EAST HAMPTON, NY — Not only did artist Michael Paraskevas bring his 84-year-old mother-in-law, Priscilla Bruno, to Coldplay’s SiriusXM gig at Stephen Talkhouse last Sunday, he sketched a series of drawings to capture the intimate performance. “Coldplay was amazing in such a small bar and my mother-in-law loved it,” said Paraskevas, who had met Coldplay’s Chris Martin a few years earlier at Author’s Night in East Hampton. “Chris was down to earth and chatted with me and my mother-in-law for a while,” he said. Because he is always drawing wherever he goes, Paraskevas sketched favorite moments from the exclusive performance that he wants to share with anyone who missed the show. For more of Paraskevas' drawings of the event, click here. He also hopes to show Martin the sketchbook one day.

Welcome to Coldplaying :)

:dazzled: [MEDIA=instagram]BJMVPbBAZ77[/MEDIA] Mobile Link: https://www.instagram.com/p/BJMVPbBAZ77/?taken-by=marcushaney

Welcome to the Board :)

Ha me too!

Lucky, lucky your'e so lucky

http://www.nj.com/bergen/index.ssf/2016/08/former_izod_center_to_become_practice_hub_for_musi.html Former Izod Center's second act will be as rehearsal space, report says Officials have found a new use for the now-shuttered Izod Center by offering it as a rental rehearsal space for musical acts, according to a report. Artists will be able to pay to practice at the facility, now called the Meadowlands Arena, before big shows, The Record reported. The idea was born after Coldplay rehearsed at the arena prior to a show at MetLife Stadium in East Rutherford on July 16, the report said. The plan is expected to bring some extra revenue from the facilty, which closed in January 2015. http://www.northjersey.com/news/former-izod-center-to-serve-as-practice-space-for-musical-acts-1.1644365 Former Izod Center to serve as practice space for musical acts EAST RUTHERFORD — The former Izod Center, which closed last year, has landed a new gig: It will be opening its doors to serve as a rehearsal space for musical artists. Officials at the New Jersey Sports and Exposition Authority and the Prudential Center on Thursday said they had reached an agreement to permit musical groups to pay to practice at the 35-year-old facility, renamed the Meadowlands Arena, before they perform locally or go on national tours. In fact, Coldplay’s crew used the arena for two days of technical rehearsals before the British group performed at MetLife Stadium in East Rutherford on July 16. “That kind of got the discussions started,” said Hugh Weber, president of the Prudential Center in Newark and the New Jersey Devils hockey team. “It got us thinking, ‘Well shoot, if there’s an opportunity here, let’s try to take advantage of it.’” Wayne Hasenbalg, president of the sports authority, said that making the arena available for musical performers, or even photographers for shoots, is a “win-win” for the state, Prudential, local workers and area businesses. It’s a chance for the state to generate revenue from a facility that is closed to the public, Hasenbalg said. The sports authority voted to shut down the Izod Center in January last year, saying the facility was bleeding red ink. It closed in March 2015 after the sports authority struck a deal with the Prudential Center for it to host all Izod events scheduled after March 31, 2015. The Prudential Center sometimes is able to permit artists or their road crews to rehearse at the facility, Weber said. That venue is so heavily booked, however, that sometimes it can’t accommodate such requests. Prudential Center is the fourth-busiest venue in gross-ticket revenue in the United States, and it is No. 6 in the world, according to Billboard magazine. There will be minimal overhead to open the former Izod Center for private rehearsals versus an event for the general public, Weber said. “It’s a totally different scale than having all the security, ticket takers, concessionaires — that is where things get upside down, which is why it is still closed for business publicly,” Weber said. “But it has been re-imagined for this particular niche of business.” After expenses, the sports authority and the Prudential Center will share in the revenue generated by the rehearsals, Weber said. “It does go to the bottom line.” Hasenbalg said. Delays in completion of American Dream Meadowlands in East Rutherford have given the sports authority and the Prudential Center a window of opportunity to let artists rehearse at the nearby former Izod Center, Hasenbalg and Weber said. Because of delays in obtaining its financing, developer Triple Five has stopped on-site construction on American Dream and likely will not resume until September or October, Hasenbalg said. He said it had been feared that the construction would interfere with any use of the closed facility. Hasenbalg added that even with the sports authority trying to fast-track American Dream, they can take advantage of this pause in the construction to use the arena. The rehearsals will provide employment for those who work in trades such as electricians, stagehands, lighting and sound technicians, he and Weber said. And restaurants and hotels near the former Izod Center will pick up business from those who come for the rehearsals, Hasenbalg said. Prudential Center will be working with major promoters, such as Live Nation, about booking space at the Meadowlands Arena, Weber said.