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In 1994, Blur released their single “End of a Century” with the observation that “The mind gets dirty as you get closer to 30.” This coincided with the rise of Britpop, and those who turned 30 back then were born during the heyday of the British invasion in the 1960s. If their minds indeed became dirtier as their milestone approached, it’s likely that their offspring will soon turn 30 as well.
The emergence of Britpop in the 1990s has strong ties to British musical lineage. To some, it may have seemed like a feeble attempt to replicate the glory days of the swinging Sixties. However, to others, it was a triumphant return to local musical traditions after a period of US dominance with grunge. Regardless, the nostalgia surrounding Blur’s reunion tour at Wembley Stadium had a dual nature, celebrating both the past and the nostalgia within it.
The cheers were uproarious as Damon Albarn, Graham Coxon, Alex James, and Dave Rowntree took the stage. As Britpop’s leading contenders, they were rivals to Oasis, the Gallagher brothers, representing the working-class of the north. Despite Blur’s last official band activity being in 2015 (with a one-off appearance in 2019), they returned to Wembley as heroes. Along with the jubilation came a sense of relief, knowing that Rowntree had recovered from a leg injury that had caused a previous tour date cancellation.
Rowntree, now a solicitor and former Labour councillor, vigorously pounded his kick drum, defying the expectations one might have for someone in his profession. Bassist James exuded a reactivated metropolitan cool, cigarette in hand and a leg casually propped on a monitor. Only his rugged appearance hinted at his unexpected post-Britpop venture as a cheese farmer.
Standing beside them were the creative forces of Blur, Albarn and Coxon. Like many frontmen and lead guitarists, their working relationship has been a mix of closeness and friction. Albarn planting a kiss on Coxon’s lips, followed by a playful yet suggestive look toward the audience, suggested a rekindling of their bond. It seemed as though Blur’s narrative was moving towards a happy ending, reminiscent of a comedy film.
Or perhaps, it was the beginning of a new chapter. They kicked off the show with a surprise addition to their discography, a new song called “St Charles Square” from their upcoming album, “The Ballad of Darren.” It had an intense, clanging quality, reminiscent of an old machine roaring back to life. This was followed by a throwback to their early years with “There’s No Other Way,” their breakthrough hit from 1991. This pre-Britpop indie track, part of the unassuming “baggy” sub-genre, was given a powerful makeover to suit the vast 90,000-capacity venue.
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