The London group offers four concerts in Saint-Denis with its pop without roughness.
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and one, and two, and three… and four stadiums of France for Coldplay. In this scorching mid -July, the London pop group enters the book of records of the Dyonisian enclosure with a performance that even the National Johnny – author however three times from the pass of three – had not accomplished: bringing together 300,000 Spectators on a tour of the exploits of Zidane. This will not give up the detractors of this training born from Britpop’s ashes, in the late 1990s, and became, in its register, the most popular in the twentieth e century. And who continue to wonder how music as much devoid of roughness could have conquered such a place.
Coldplay already knows the stadium of France well for having stopped there previously twice, in 2012 and 2017. After singing Sparks, a melancholic ballad like Radiohead, from the first album Parachutes (2000) , singer Chris Martin will remember, Saturday July 16, their first Parisian concert – “There was no one”, in May 2000, in the small room of the leather goods – and the omen of a journalist: “He had said that we were too depressing and that we would not have a career. Suddenly, we have changed. Thank you to him! “
A modest light globe adorned the pocket of parachutes. For Music of the Spheres, ninth album of Coldplay published in the fall of 2021, replaced a more flashy visual, a system of nine planets and three satellites. For production, the quartet called on the Swedish Max Martin, the largest tube maker of his time (for Britney Spears, Katy Perry, Maroon 5, Taylor Swift, The Weeknd…). It was written that we would not escape duets, whether with Selena Gomez for the Mière Let Somebody Go (at the Stade de France, the former Disney princess is replaced by the American singer of R’n’B H.E.R. , invited in the first part) or with the BOYS BAND BTS BTS for My Universe, a title of Dance -Pop as elegant as those of David Guetta – which did not fail to remix it.
Contact with The public
In the end, a synthetic pop cut for the stages. As if, at Coldplay, the tour support should now define the style. With reinforcement of programmed sounds, the hopping Single Higher Power opens the evening, after an entry of the musicians worthy of a television retransmission of the Champions League. Their image appears on the screens as they go from the changing rooms – sorry, lodges – towards the lawn. Crossing to take place on one of the three scenes, not the main one, but a second, furnished in the heart of the pit.
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