Note: The tour requested that we only photograph N.E.R.D. and not Gorillaz
Damon Albarn is extremely proud of his creations. Along with Jamie Hewlett, Albarn created characters, a story, and most importantly, the music that accompanies this so-called cartoon band known as Gorillaz. To help translate these creations to a live setting, Gorillaz surrounds itself with phenomenal musicians--rather than using guests as a crutch--pairing phenomenal performance with phenomenal production.
Opening the evening, N.E.R.D took the stage to a quarter-filled arena. As cool as Pharrell and crew appeared on stage, the show was extremely lacking. I felt reduced to the status of a second grader with their urging for call-and-response crowd participation and almost patronizing tone. Perhaps they were hindered by the gaps in the audience, but only a select few college students erupted when they went into a cover of "Shots." The cover, in essence, was a backing track with two drummers going at their kits during its duration. N.E.R.D's set felt superfluous; the lighting, backup dancers, and even the attitude were too over-the-top. Though, Pharrell did have a cool hat.
Watching Gorillaz set up their stage was a show in itself. The backdrop was a giant screen with lit block-letters that spelled the band name, with multiple hanging lighting rigs on the sides. As the lights faded, the screen began to tell the night's story. On screen, Murdoc, 2D and Robo-Noodle sat in their backstage room, as a string section of girls dressed as sailors took their seats. The orchestral intro of Plastic Beach played while the enormous band got on stage. Backing vocal section, three guitars, bass, two keyboards, two drummers and Albarn appeared, shrouded in darkness.
While seeing a band in a small, intimate venue is desirable, it's also a treat to see something huge. No one cared about the size of the audience they stood in. When the spotlights shone on the back balcony, fans made full use of the two square feet in front of their chairs, appropriately going apeshit.
It was nice to see a change from past Gorillaz' live shows. In previous tours, the actual performers were shadows behind a curtain, while the crowd watched the hologram "band." Now, the focus is on the band. In the background, the screen showed their music videos, storyboard videos, concept art, all to continue the Gorillaz lore.
The Gorillaz played to the crowd of this large venue. The first song after the intro track was "19-2000" off of the first album, and Albarn quickly got the crowd in the palm of his hands by jumping to the front of the monitors and asking the crowd to sing along. Even though this was an "Escape to Plastic Beach" tour, complete with roadies wearing "Stylo" shirts, Gorillaz knew their vast fanbase, ranging from pre-teens to fifty-year-olds. Following "19-2000" were two Demon Days tracks, "Last Living Souls" and "O Green World." When Albarn got on the piano for the ballad ending of "Last Living Souls," everyone went quiet as he employed his singing voice for the first time. By the end of "O Green World," he was stomping up and down (like a gorilla!) while playing piano and singing the chorus along with the crowd.
The slew of guests began when Bobby Womack shuffled onto the stage for "Stylo." Womack's soulful, raspy voice was spot on for the tune. Stomping around the stage were Mick Jones and Paul Simonon of the Clash on guitar and bass, respectively. Their instruments added unique touches to songs, and were definitely not a gimmick. Not only did they look bad-ass, but their presence just exuded a deserved sense of cool. "Superfast Jellyfish" and "Feel Good Inc." were supported by crowd favorites De La Soul, while "Empire ants" and "To Binge" were graced by Albarn's Swedish protege, Little Dragon. Throughout the show, the string section also added wonderful accents.
Gorillaz touched on all the hits, including "DARE" and "Kids With Guns" off Demon Days, and "On Melancholy Hill" and "Plastic Beach" from the latest album. Even instrumental tracks like "Glitter Freeze" were just as good as the choir backed closer, "Demon Days." Two drums, a phenomenal synth solo, and a very bouncy driving bassline had the sea of people in the floor area shaking the arena. The title track of Plastic Beach featured a great spotlight on Jones playing the twangy, western sounding beginning. Also, for lack of a better term, when the "beat dropped" in that song and many more, it was awesome to see the members of the Clash going as crazy as the crowd.
Little touches of production added to the virtuosic musicality on stage, from an Arab-American orchestra and giant white flag during "White Flag" to the smallest detail of Albarn's melodica matching his red and black striped shirt. The range and amalgamation of styles of music from various guests and artists on stage, combined with the amazing visuals, helped the twenty-four song set flow beautifully. Gorillaz have been around for a while, but thank god for music fans that the Escape to Plastic Beach tour has just begun.
Nerdy Gorillaz Story End-note: If anyone is wondering what's happening with the story of the Gorillaz, there were some hints as to the state of Noodle and Russell. "Rhinestone Eyes" featured concept art that seemed to continue the story where Melancholy Hill left off. It seems that the REAL Noodle is still alive after the events of El Mañana. The android that has replaced her that appeared in "Stylo" and "Melancholy Hill" is most likely evil, based on a skit between songs. It seems that the android Noodle is teamed with the strange demon from Melancholy Hill and they have the real Noodle locked away somewhere, while Robo-Noodle becomes buddy-buddy with 2D and Murdoc. Russell, in the meantime, is chilling out in the ocean; he's also the size of a building after being mutated by something in the water. There's a bit of story to fill in, but the conclusion of the story was Russell emerging Godzilla-like from the Ocean with the real Noodle riding on his head as they obliterate the island of Plastic Beach. We'll see what happens.
