“WE have been waiting for this moment all our lives,” proclaims a humbled, yet ever-charismatic Damon Albarn, moments into Blur’s colossal first night at Wembley Stadium.
Such an admission initially seems a little at odds with the reality of the group’s decades-long success and popularity, not least given the huge concerts they have conquered previously.
But what becomes clear over the next two hours is a performance such as this one - as electric and brutal as it is heartfelt and emotional - is only achieved if a lifetime has been spent working towards it - or indeed, waiting for it.
That’s not to say the tracks which make-up tonight’s setlist feel in any way tired or that Damon, Graham Coxon, Alex James and Dave Rowntree seem as if they are just going through the motions when playing them. On the contrary.
Latest singles St Charles Square and The Narcissist, which as good as bookend the set, keep things fresh, ensuring tonight’s gig is as much a celebration of the new – be that new songs or a new love for performing onstage together again - as it is the old.
Every song this evening is delivered with all the vigour and energy of four young boys smashing them out for the first time in their parent’s living room, but also the cocksurety of the seasoned professionals Blur now are.
The mid-set, back-to-back double-whammy of Country House and Parklife (featuring a fantastic guest appearance from Phil Daniels), for example, sucker-punches relentless ripples through the entire stadium, and shockwaves through wider London, while Song 2 shakes the foundations to its core.
For the latter, former Colchester schoolboy Damon tells the audience he wants to see everyone in the stadium bouncing. He gets what he asks for and then some, with 90,000 fans reciprocating the songwriter’s frenzied jostling.
The ping-ponging ricochet of delirium between band and crowd makes for a relationship which - despite the energy-sapping heat - never really lets-up throughout the gig.
Everything from There’s No Other Way, Popscene and Tracy Jacks to Beetlebum, Girls and Boys and Coffee and TV are as excitedly received as you’d expect, while deep cuts such as Trimm Trabb, Oily Water, and Stereotypes make for pleasant surprises.
The more wistful and emotive moments, meanwhile, including the rarely-performed Under The Westway and To The End, are pure magic, and tear-inducing for some.
Tender on the other hand - elevated to a place of transcendence this evening by the accompanying London Community Gospel Choir - puts its arm around your shoulder and sways with you side-to-side. It’s a home comfort, like your favourite cake-baking granny.
And bringing it home on night one of two for the band, as it always does so superbly, is The Universal in all its spellbinding and ethereal glory - an eternally special, special track which moves you in ways which are fleeting but all the more perfect as a result.
Admittedly, I’ve only ever seen Blur twice, my first experience being their extremely intimate homecoming show for just 400 lucky gig-goers at Colchester Arts Centre.
But I have every confidence the more seasoned gig-going fans of the band will not hesitate in crowning tonight’s show one of their best ever.
As Damon said at the start, the four-piece have waited for this moment their entire lives. Well, if Blur’s first ever Wembley Stadium headline gig is anything to go by, it really looks like they might have made it.
Comments: Our rules
We want our comments to be a lively and valuable part of our community - a place where readers can debate and engage with the most important local issues. The ability to comment on our stories is a privilege, not a right, however, and that privilege may be withdrawn if it is abused or misused.
Please report any comments that break our rules.
Read the rules hereLast Updated:
Report this comment Cancel