Almost three years have passed since the last time the National Stadium hosted a mega-concert. It was on October 15, 2019 when the English Iron Maiden marked a long goodbye fueled by the pandemic and the pressing lack of concert halls in the capital. Hence the first of the four shows sold out that Coldplay scheduled at the Ñuñoa Coliseum (September 20, 21, 23 and 24) was marked by the tone of the reunion; more with the cancellation of the Justin Bieber show, at the beginning of the month. A return to those days when attending an international show was an event that set the daily tone. And they missed each other.
On their third visit to the country, Coldplay arrived a friendly stadium monster. “The biggest band in the world for a few years”, defined The Guardian about the presentations in London of the tour Music of the Spheres who brings them this time.
The preview was marked by lively presentations by Princesa Alba and Camila Cabello, in keeping with the youthful presence in the audience, including families with children. Despite the cold, the closed night offered the framework for the deployment of the lights of the telephones as a preview of the show. And on the screens, small messages of environmental initiatives recalled the spirit of an environmentally friendly tour.
More than twenty minutes latea request to the VIP court audience to move to the side and a small short on the environmental theme of the tour, Coldplay finally came on stage.
With the first bars of Higher Powerr, a theme of Music of the Spheres, worked with the pop label of Max Martin (Backstreet Boys, Britney Spears), the show kicks off with an explosion of biodegradable confetti and lights from the bracelets given to the attendees. “Welcome friends”, greets an energetic Chris Martin, anchor figure of the concert who from the first moment acts as an entertainer for the audience.
A first emotional moment comes with the interpretation of The Scientista song with a hymnical vocation enthusiastically followed by the public.“Nobody said it was easy”, The respectable sang loudly, eager to relive a moment of communion after the pandemic.
Years ago the British took a leap; they abandoned any pretense of establishing themselves in memory only for their musical work, in pursuit of becoming a high-level entertainment number. That at the time they were considered imitators of Radiohead and Jeff Buckley, today is irrelevant. Today, his thing is music for the masses.
Above all, Coldplay is a show designed for everyone. The group moves to a small central stage, nestled towards the limit of the VIP court with the general one where they play songs such as Live life either Hymn for the Weekendwhich make clear his ability to leave melodies resonating in the head.
Chris Martin, the leader of the group, shows off his sense of entertainment. He jokes with someone in the audience, laughs at his stumbling Spanish and moves from one point to another as if he wants no one to be able to say that he didn’t see it.
Although the show is focused on presenting material from Music of the Spheresthe repertoire of 21 songs covers the discography with songs like Yellow (of course the bracelets turn yellow) and Clocks, for first-time fans. They also pass cuts like Something just like this (with the musicians wearing light-up masks as if they were Daft Punk) or My Universe, the collaboration with BTS that brings them closer to the young public. Meanwhile, the spark of the rain made itself felt.
Towards the end, after almost two hours, the group managed to maintain the tension of the show thanks to their craft; Martin takes advantage of a technical problem to ask the public to dance without cell phones. An emotional moment taken at the tip of grace and crowned even with fireworks. More when moving to another smaller stage to make Sparks, a song from their first album that sounded delicate and precise. He followed Don’t Panic, another cut from those early days, this time on the voice of drummer Will Champion. The auction that included the emotional Fix You and two themes Music of the Spheres, closed a night that disputes their right to remain in the collective memory. Like at the time, Rod Stewart, Amnesty International, or Metallica.
Twenty years ago, when the quartet launched the good A rush of blood to the head (2002) their live shows still distilled their desire to connect with the indie tradition that they referred to in their beginnings. Back then, they were sober shows, with limited light effects to illuminate the musicians, dressed in rigorous black. Today, colors, confetti, bracelet-shaped lights are the norm. It is music for everyone.