And Into the Sea. Goes Pretty England and Me.
The Blur Story...
Blur are a band that has been a part of my record collection for a very long time, and for a while, they were on the fringes. However, in these last 12 months, I have come to love the band. They are one of the very best bands of the 90s and one of Britain's most important bands ever. With four extraordinary musicians, Damon Albarn, Graham Coxon, Alex James and Dave Rowntree.
This is there story.
She's So High- The Start
Blur was formed at the back end of 1988 when Alex James joined Damon Albarn's band 'Circus' James was studying at Goldsmiths College in London and had become friends with Graham Coxon, who would introduce James to Albarn. Dave Rowntree had joined the band a few months previously, creating the lineup we now know as Blur and what the world knew then as 'Circus' and 'Seymour'
The group performed live for the first time in summer 1989 in the goods shed of the East Anglian Railway Museum at Chappel & Wakes Colne. It was not long before they were attracting the attention of A&R representatives, in November of 1989 Andy Ross of 'Food Records' attended a Blur gig and managed to convince the band to sign with Food. It all seemed to be perfect, apart from one small detail, the band name. A list of alternatives was drawn up by the label and thethethe band decided on Blur. Signing them officially in March 1990.
Newly christened, Blur, the band took to the road supporting the Cramps on a UK tour. Where they could road-test new songs, including the debut single 'She's So High' which was released in October 1990 and hit Number 48 on the UK Singles Chart. A follow up was needed and after initially struggling the band began to work with Stephen Street, famed for his work with The Smiths and later Morrissey. The first result of this now prolific partnership was the single 'There's No Other Way' which was an instant hit, and peaked at Number 8 in the UK Singles Chart, the song took inspiration from the 'Baggy' movement in the UK at the time, a true indie and dance crossover. Blur's potential was there early doors, they had hit the Top 10 with only their second single. A third single 'Bang' followed and it was not as well received, peaking at Number 24. However this did not deter the band, and they pushed on with the guidance of Food Records bosses Andy Ross and David Balfe to record an album which drew influences from the Baggy and Madchester genre. Blur however wanted to explore different ideas, but were limited as Damon often had to write in the studio. 'Leisure' the band's debut released in 1991 is a real mixed bag, there are some classic Blur songs on that record, including 'Sing' and 'There's No Other Way' however it is the sound of a band finding their feet.
After finding out that the band were in considerable debt, they took to the road. Not around the UK or Europe. Blur was headed for the States. To coincide with this tour, the band released 'Popscene' which was the first time we saw a band with a new sound, it's very very British, with 60s hooks and blaring horns. However it did not chart well, grunge was all the range at the time and whilst Nirvana ruled the roost. Blur's idea of guitar music was not wanted, and the planned second album was pushed back.
During the two-month American tour, the band became increasingly unhappy, often venting frustrations on each other, leading to several fights between the members. They were young and homesick. Missing England, and English things. Albarn was writing very British-sounding music, influenced by the great British bands, who had not translated particularly well to the American Market, The Kinks, Madness, The Jam etc. Blur did not want to play the game in America, in fact they were sick of the shift of American Culture, and how it was coming to dominate peopl's lives.
Blur was still in trouble, and after a bad gig in 1992, which featured Suede on the bill. The band were close to being dropped. However, Food reluctantly let them record a second album. Even if they were a little sceptical of the band's idea.
For Tomorrow- Britpop Begins
I mentioned Suede earlier, well whilst Blur was in the States Suede had begun to achieve success and you could say Blur were spurred on by this, spurred or annoyed. One of the two. After some failed sessions with Andy Partridge of XTC fame, the band took to the studio with Stephen Street again, to work on a second record.
Albarn had a point to prove. "Suede and America fuelled my desire to prove to everyone that Blur was worth it ... There was nothing more important in my life. He understood that grunge was coming to an end and that the tide was changing. British pop, was going to work. Even if the record label didn't believe him.
'Modern Life is Rubbish' the band's second album, was completed in December 1992, and it's safe to say the record label wasn't massive fans. Balfe famously told the band that they were committing 'artistic suicide' Nonetheless the band continued to push for the record, but the label rejected the album originally urging the band to record a single. Albarn listened and on Christmas Day he wrote 'For Tomorrow'. Two more singles were released 'Chemical World' and 'Sunday Sunday' the band were back.
This album is vastly different from its predecessor, it was hugely influenced by traditional guitar pop, The Kinks, The Who, The Small Faces and The Jam, and see's the band adopted a variety of different styles 'Advert' for example punk song, whereas 'Chemical World' is psychedelic in places, musically this band were further ahead of the competition. A melodic, brass and string-filled masterpiece. In my opinion, this record is Blur's crowing jewel.
Deriving from "the biting humour of Ray Davies and the bitterness of Paul Weller", Albarn's lyrics on Modern Life Is Rubbish is a social commentary and satire on contemporary suburban English life. A real two-fingers to America, and the antithesis to Grunge. This is the birth of Britpop.
The band announced the release of the album with this photo...
It was a new look, a new image for the band. Influenced by the Mod and Skinhead subcultures, Baggy and Madchester were long gone, this was the new Blur.
In August 1993, Blur set off on the Sugary Tea tour of the UK to promote Modern Life Is Rubbish. Named after a lyric in "Chemical World", the tour was a success, as Blur reclaimed some of their popularity. A key performance was at that year's Reading Festival which, was a pivotal moment for the band. On the tour, Blur performed a number of songs that would end up on the group's follow-up album.
It was the catalyst for what would happen next, it was the start of something big not only for Blur but for British music.
Tales of Charmless Men- Parklife & The Great Escape
Damon Albarn told a group of music journalists in 1990, a year before Blur had released a record, When our third album comes out, our place as the quintessential English band of the '90s will be assured. That is a simple statement of fact. I intend to write it in 1994." He was right.
The album in question... 'Parklife'
Blur was still struggling financially, even after the release of 'Modern Life is Rubbish' and therefore Albarn was still writing a lot, demoing songs in groups of two and three, the band needed to get back into the studio. They did just that, going in to record 'Parklife' in August 1993, just three months after the release of the previous record. Heading to Maison Rouge studios in Fulham again with the producer Stephen Street, they quickly got to work.
“A lot of ‘Parklife’ is nostalgic, referencing our childhood. It felt comfortable to us, bringing all these elements together – like creating Sunday lunch with sound”– Graham Coxon, Blur guitarist
The band decided to go with a loosely linked concept, which runs through the record. Although each of the songs is its own story, they are all somehow linked. Again like the band's previous efforts, they would experiment with different styles 'Girls & Boys' saw the band write a synth-pop song whereas 'To the End' is a ballad, and 'Parklife' is a spoken-word song. It is an album that contains some of the band's very best songs, it showcases all four members as extraordinary musicians. Take 'This Is a Low' for example, one of the very best songs of the 90s about the British Shipping Forecast, and a nod to the band's friendship James said. "We used to listen to it [on the American tour] to remind us of home. It's very good for a hangover. Good cure for insomnia, too. It reminded the band of those moments they had spent together.
'Girls & Boys' sums up the 90s, written about 18 to 30 holidays, tacky nightclubs, booze, drugs and sex. An undeniably catchy song, with a disco beat and a drum machine powering us to the dancefloor. However dismissing this track as an indie dance song is unfair, lyrically it is one of the best Blur songs. With a universal message of hope for a chorus.
The band rightfully loved the record, however, the record label owner David Balfe was less than impressed calling the record a mistake. He would soon sell Food Records to EMI.
Upon release, 'Parklife' debuted at number one on the UK Albums Chart stayed on the chart for 90 weeks and was met with critical acclaim, critics loved it. As did fans, this record propelled Blur from indie upstarts to superstars. The 1995 Brit Awards would prove the albums popularity, the band won four awards, including Best British Album for 'Parklife'.
'Parklife' seemed to be the catalyst for a shift in British music, bands like Pulp, Elastica, Oasis, The Verve and Supergrass were all beginning to come through a real scene was forming.
Blur would play Glastonbury in 1994 to a huge crowd, Britpop was really starting to take off now and Blur were its poster boys. Well one of its poster boys. What would they do next?
What Blur would do next wouldn't necessarily be chosen by them. Just as Parklife was being released, going straight in at Number One at the start of a 90-week residency in the charts, a bunch of lads from Manchester, named Oasis were releasing their debut single ‘Supersonic’
1995 would be the year, these two came to a head...
The band began to work on album number 4 at the start of 1995, and it saw the band build on what they had done on 'Parklife and Modern Life is Rubbish' continuing a storytelling and character-driven theme. However this time, the characters were much more twisted and theatrical. The result was 'The Great Escae but before we get into that.
I could not write a post about Blur without mentioning the 'Battle of Britpop' which saw Blur compete with Oasis, both of the band's lead singles for forthcoming albums would be released on the same day. Blur would release 'Country House' and Oasis 'Roll With It'. The band were already coming to head and it was billed as the biggest rivalry in British music since The Beatles and The Rolling Stones. A media frenzy followed and suddenly it became more than just the music. The battle pitted the two bands against each other, with the conflict as much about British class and regional divisions as it was about music. Oasis were taken as representing the North of England, while Blur represented the South.
Blur won, In what was the best week for UK singles sales in a decade, on 20 August, Blur's "Country House" sold 274,000 copies against "Roll with It" by Oasis which sold 216,000, the song charting at number one and number two, respectively. It became more about pitting the two bands against each other than it did against the music. Controversial opinion both of the songs are some of the weakest tracks on their respective albums.
The chart battle did help Blur, 'The Great Escape' sold half a million copies in the first month, however, public opinion was about to change. Oasis and '(Whats the Story) Morning Glory' reached stratospheric heights and went quadruple platinum in the US. Blur had become the middle-class indie band, and Oasis was on their way to becoming global superstars whilst still being seen as working-class heroes.
Alex James discussed how quickly it changed "After being the People's Hero, Damon was the People's Prick for a short period ... basically, he was a loser – very publicly."
This time in Blur's history is a weird one because they are always compared to their counterparts Oasis and Pulp, and 'The Great Escape is very rarely talked about. At the time the album received widespread acclaim from music critics. They loved it, and I can see why.
It's a record full of great songs, from the brilliant singles 'Stereotypes' 'Charmless Man' and 'The Universal' through to the hidden gems 'He Thought of Cars' and 'Best Days' it's a brilliant album.
'The Universal' is a song synonymous with Britpop a song about belief and denial. We believe that tomorrow could be ‘our lucky day’ when in reality that is highly unlikely. It is said Damon took inspiration from the ‘National Lottery’ when writing the lyrics for this song. The song is my favourite song by the band.
The album saw Blur push Britpop as far as it would go, 1995 is Britpop at its peak, the three biggest bands released albums and from there it was hard to see where any of them could go next. It brought Blur's Britpop journey to an end and ended the life trilogy.
What happened next nobody was expecting.
Death of a Party- Blur and 13
The death of the party came as no surprise.
By 1996 Blur's relationships were starting to come to be strained, Coxon was struggling with drinking, James was becoming a bit of a playboy and they were unsure where Albarn was going to take the band next. Up to this juncture he had been in control over the band's direction, sound and image. Yes, it had worked but after 'The Great Escape' the band were in a bit of a lull.
Coxon was too fed up with Britpop, he never really felt a part of that movement anyway, and he began to reject the whole thing. Instead looking to America, and in particular American bands, such as Pavement. Albarn had initially been dismissive but upon receiving a letter from Coxon, he took it upon himself to start to listen to this new music and agreed a change of direction was needed.
What did Coxon say in his letter?
He wanted the bands music "to scare people again".
Stephen Street was approached and the band began to work on album number five. Starting with sessions in London before decamping to Iceland, away from London's Britpop scene. Whilst Mr Gallagher and Mr Cocker, played to huge crowds Blur went into Iceland's Wilderness to record arguably the most important album of their career. An album that had a huge impact.
Albarn began to write more personal lyrics, and the instrumentation became more aggressive and emotional than previous efforts. The band changed the way they recorded. "It was the first time we sort of jammed," Coxon revealed. "We've never really jammed before. We've been quite white-coaty, overall about recording, like in a laboratory. Yeah, we did actually feel our way through just playing whatever came to our minds and editing, which was really exciting
The result was the band's self-titled 5th album. EMI was a little apprehensive, we've been here before haven't we, the drastic change in sound would alienate the fanbase, and they thought the album would flop.
How wrong they were!
'Blur', as well as lead single, 'Beetlebum', reached the top of the UK charts and the album was certified platinum. 'Song 2' which reached Number 2 in the UK Singles Chart, also became the band's biggest song in America propelling them to new audiences. Whether it was a direct attempt to beat US rock groups at their own game, or a more playful comment on how easy Blur felt it was to make grunge music, Song 2 went straight into the charts and has become one of the band's most-loved songs.
'On Your Own' has since been referred to as one of the first ever Gorillaz tunes' and 'Death of a Party' sees Blur discuss a '90s AIDS crisis and is one of the band's most political moments, they had become something very different, to what they were on the previous album. 'Blur' was an album the band needed to make. The Britpop hangover was in full flow. Blur had come out of the other side, even better, Pulp would do something similar in 1998, Oasis well... they made 'Be Here Now' the album Noel Gallagher famously described as the sound of '5 men on cocaine, not giving a fuck'
After the success of Blur, the band embarked on a nine-month world tour, where they would take these new songs to the biggest audiences to date.
The band were now playing in Arenas, across the globe and in 1998 they would play at the Glastonbury Festival, headlining the Pyramid stage for the first time. Blur had arguably become the most important British band again.
1999 saw Blur release a sixth record. '13' is an album that sees the band move away from Britpop even more, and allows the band to take what they had done on 'Blur' to another level. Stephen Street was out of the producer's chair, and William Orbit was given the hot seat. Coxon was given the lead, and was allowed to do as he pleased. Meanwhile, Albarn would write some of his most beautiful and heartfelt lyrics to date. He was going through a break-up with Elastica frontwoman Justine Frischmann.
Albarn gave us some of the band's best songs to date 'Tender' 'Coffee & TV' and 'No Distance Left to Run' are all on this record and it sees the band go in a new direction totally. 'Tender' is one of the most beautiful pieces of music by a British band, 'No Distance Left to Run' is heartbreaking, Albarn has said he is affected by this song: "It upsets me, that song. It upset me singing it. Doing that vocal upset me greatly. To sing that lyric I really had to accept that that was the end of something in my life. It's amazing when you do have the guts to do that with your work because it doesn't half help you. 'Coffee & TV' is the first song, sung by Graham Coxon and is different to the album, it's the most stereotypical Blur song, written around the theme of Coxon's alcoholism and his road to recovery.
Although the songs were great, and the album is perceived as one of the band's best, it was also the start of the end. Albarn started sharing a flat with artist Jamie Hewlett whom he had met through Coxon. Around this time, Albarn had started to broaden his musical output. Whilst he was working on 13, there were various reports that he and Hewlett were working on a secret project, which turned out to be Gorillaz. "Things were starting to fall apart between the four of us," drummer Dave Rowntree later revealed. "It was quite a sad process making it. People were not turning up to the sessions, or turning up drunk, being abusive and storming off."
It was all coming to a head.
Blur would tour '13' in late 1999 and 2000 taking the new record around the world, however, once this tour was over the band began to move in different directions. Albarn would focus on his new virtual band 'Gorillaz' with Jamie Hewlett, whilst Coxon would release some solo releases. He would release two solo albums before Blur would reconvene in 2001.
Out of Time- The End
Recording for the next Blur record would begin at the back end of 2001, in London but it would take until June 2002 for the band to make real progress. Blur had moved the recording to Morocco, and then back to the UK. However, during this time, they would suffer a huge blow. Coxon left the band, he was suffering with his alcoholism at the time and had been admitted into the Priory Hospital just as the band had begun to start the album. He would rejoin the band for a few days, but things were not the same. The band did not think things were going well, with him in the room. So Coxon packed his bag and left.
He has since described how he was feeling at the time. "I had a breakthrough, I think my life just became calmer, I gave up drinking. My priorities changed as I had a young daughter. The group didn't want me to record for the Think Tank album, so I took it as a sign to leave." Before he left he did give us one last contribution, the final song on 'Think Tank', 'Battery in Your Leg'. Albarn has since stated too, that 'Sweet Song' another song on the album was inspired by Coxon, and was written after Damon looked after a photograph of him and Coxon.
Yet the majority of this record sees the band distance themselves from Coxon's guitar playing. Influenced by electronic, dance, hip-hop, jazz and World Music. Even the producers the band used for this record sees them take a different approach. The album's primary producer was Ben Hillier with additional production by Norman Cook (Fatboy Slim), and William Orbit.
It is a very different record to anything the band had done before, much more electronic, and loop-based. Almost entirely written by Albarn, Think Tank placed more emphasis on lush backing vocals, simple acoustic guitar, drums, bass guitar, and a variety of other instruments. This was the first time in two albums Albarn was given totally creative freedom 'Blur' and '13' had been led entirely by Coxon this time Albarn was definitely at the helm.
'Think Tank' was still a successful record for the band, it hit the top spot in the UK, and was nominated for the best album at 2004's Brit Awards. It saw the band again embrace a new direction, having lost one of the most important parts of the jigsaw.
Blur toured the record in 2003 and replaced Coxon with Simon Tong, the former Verve guitarist. Not a bad replacement. However, he is not quite Graham Coxon. It did give fans the opportunity to see Blur play these new songs live.
In 2005, XFM News reported that Blur would record an EP, and denied that they would hire a replacement guitarist for Coxon. There were also some aborted recordings made in 2005. Overall the band kept a low profile and did no studio or touring work as a three-piece. Coxon too was hesitant to join Blur, again. However, things were soon about to change!
Adverts Inside My Dreams- Reunion & The Magic Whip
In 2005, Coxon was reluctant to rejoin his bandmates, however in 2007 the band reconvened, and announced they planned to record in the Summer. Autumn of that year. In October they met up, for an "enjoyable lunch", but put the new music rumours to bed, "there were no other music plans for Blur".
In December 2008 Blur announced a huge show in London's Hyde Park for the 3rd of July 2009, a few days later a second date was added the 2nd of July 2009. Along with a series of shows in the run up to these huge dates. The band's shows varied in size on this tour from the East Anglican Railway Museum, (where the band played their first-ever gig) to Goldsmiths College (where the band met) all the way through to the Manchester Arena.
Before the tour started, Blur reunited at the 2009 NME Awards, all four of them, Alex James and Dave Rowntree presented Pete Doherty with the award for Best Solo Artist, meanwhile, Damon and Graham took to the stage for the first time since 2000 to play an acoustic version of 1994's 'This is a Low'
In June 2009, the band didn't think two huge shows in 2009 were enough, so they took to the Pyramid Stage at Glastonbury on Sunday 28th June 2009, to play Glastonbury performances for the ages. It is still ranked as one of the very best headline slots ever seen at Worthy Farm. Playing a joyous set for the ages. A set about friendship – and the truly heartwarming sight of two best friends throwing aside their differences and starting afresh. Remember the bad blood of 'Think Tank' that was done. Blur were back and arguably better than ever!
Hyde Park's two shows saw Blur ride off the crest of the wave Glastonbury had given them. Playing two of their best-ever gigs, playing all of the classics but also digging out some of the hidden gems in their discography and giving them an outing in front of the 50,000-strong crowd. Oily Water, ‘Death Of A Party’ and ‘Trimm Trabb' all were giving a new lease of life, and the crowd lapped it up. Mixing these in with the Blur faithful's favourites was a master stroke.
Blur also played 'Out of Time' at these reunion dates, a song from the band's last album 'Think Tank' however this time round there was something different. Something not present on the studio versions. A certain Mr Graham Coxon was playing the guitar, and these live versions acted as a metaphor for the band rekindling their friendship for each other.
Albarn paid tribute to the people behind the scenes who he said had “bullied” Blur into getting back in touch with each other since going on hiatus after the 2003 album ‘Think Tank’.
“I just wanna say thank you to everyone who sort of bullied us and persisted in getting us to do this,” he said, adding to the audience “And thank you too!”
Blur needed to do this, for themselves more than anything. However they were not finished yet. After headlining summer festivals, including T in the Park and Oxygen. The band laid down their instruments for a little while. At the time no further plans had been discussed. Rekindling the friendships had been the main instigator for these shows and it had worked.
In January 2010, No Distance Left to Run, a documentary about the band, was released in cinemas and a month later on DVD. Detailing the history of the band up until this point, as well as showing behind-the-scenes footage of the 2009 summer tour. Including backstage videos of the huge Hyde Park gigs, and candid moments of all four members together. 2010 also saw Blur release new music, for the first time in 7 years, the band released 'Fool's Day' for Record Store Day and was initially limited to 1000 physical copies.
In February 2012, Blur were awarded the Outstanding Contribution to Music award at the 2012 Brit Awards. Later that month, Albarn and Coxon premiered a new track together live, "Under the Westway". Another new song, leading fans to expect a new album. However, recording had been halted. Two singles "Under the Westway" and "The Puritan" were released but no album would follow.
That August, Blur headlined a show at Hyde Park for the 2012 Summer Olympics closing ceremony. In 2013, the band performed at the Rock Werchter in Belgium, the Spanish and Portuguese dates of the Primavera Sound Festival, and the Coachella Valley Music and Arts Festival in the United States. Having said they were done in 2009, that certainly looks like quite a busy schedule.
Albarn commented on the show at Hyde Park, "Damon Albarn has admitted that Blur will take home just £1 each for last night’s Hyde Park show." They did not do it for the money it was about celebrating their home and the end of the Olympics. It was a special show and a special moment for the band, it also allowed them to give the new song "Under the Westway" a runout.
In 2015 Blur fans finally got what they were asking for. A new album. 'The Magic Whip' written and convinced in Hong Kong, after a few cancelled dates in Japan. It was not only a return for the band. They had not released an album for 12 years, When Coxon was back he was absent on the band's previous record. Stephen Street was also back in the producer's hot seat. It was a weird album to make, because although the band had written and recorded the tracks together in Hong Kong. It took Coxon, to take the songs to Street whilst Albarn was on tour, in order for the album to be made. James and Rowntree would add to the songs in secret recording sessions. The music was presented to Albarn and the rest is history!
A triumphant comeback for Blur, they would go on to tour the album in 2015 playing all around the world in huge arenas, with the last date being the 29th November 2015. Blur then went back on another hiatus. It seemed like the end. They had come back, played some huge shows, rekindled the friendship and even released new music. In the form of new singles and even a new album. Would Blur do any more?
Standing in the Back Row This Ones For You- The Ballad of Darren & The Future...
It took Blur 7 years to make the next announcement. Yes they had briefly reunited in 2019 at an Africa Express event organised by Albarn. However, it wasn't until 2022 that they would announce something. On 14th November 2022 Blur announced a huge Wembley Stadium date for Saturday 8 July 2023. Blur's biggest UK gig to date.
Albarn said, "We really love playing these songs and thought it's about time we did it again”. Coxon also stated, "I'm really looking forward to playing with my Blur brothers again and revisiting all those great songs. Blur live shows are always amazing for me: a nice guitar and an amp turned right up and loads of smiling faces.”
On November 18th Blur announced a second date at Wembley for Sunday 9 July 2023. In April, Blur would announce further dates, in Europe and Asia. Performing in Madrid, Porto, Dublin, Amsterdam, Normandy, London, as well as a string of huge European Festivals. Before jetting off to Japan, and then ending the tour in South America, with some November dates. Yes Blur are still on tour!
Blur announced four UK warm-up dates for May 2023, to get them ready for these huge shows. Blur played at Colchester Arts Centre on May 19, Eastbourne Winter Gardens, on May 21, and Wolverhampton on May 26 to perform at The Halls, before finally wrapping up their warm-up gigs at Newcastle's O2 City Hall on May 28.
These announcements were huge for fans. A new generation of Blur lovers. Me and my friends thought we might never see the band, and thanks to this tour we got to see them, some of us even went twice. I also got an amazing holiday to Amsterdam so cheers lads, (sorry Lauren).
If April 2023 was good for Blur fans, May was even better, we already knew about the warm-up gigs. But on May 18th Blur announced new music, the first single from their upcoming ninth studio album 'The Ballad of Darren'.
'The Narcissist' was an exceptional return to form for the band, a song the band have described as 'an aftershock, reflection and comment on where we find ourselves now”, looking back at the friends he has lost: Bobby Womack, Tony Allen and late tour manager, Craig Duffy and his wife.' It is not only one of the best songs of this year it is one of the best Blur songs ever. A snapshot of their whole career In terms of a comeback single, it doesn't feel like one.
It has gone straight in alongside, the very best songs the band have ever released. It has to be. A truly beautiful and breathtaking piece of guitar music.
Blur would play the huge summer shows before the release of 'The Ballad of Darren' and it was a privilege to watch a band that had the discography Blur had, but also were super excited for the world to hear this new record. Watching them in Amsterdam was something I'll never forget. A group that has been through a lot together and apart but a group who feel at home and comfortable on that stage and in each other's company.
The magic was there, both on stage, and I can happily say in the studio. 'The Ballad of Darren' is some of the band's best work. It is memorable and touching full of emotion. You can feel what the band are going through which each line sung by a fragile front man, and each note played by his three best friends. Whatever they are going through, they are facing it together. This sense of friendship has strengthened over the years. As has the relationship with the Blur faithful.
“I gave a lot of heart, so did you / Standing in the back row, this one’s for you” Albarn sings on the album's final song 'The Heights'
The Ballad of Darren was born out of the gang getting back together, and the four members experiencing the friends they have lost. This album is for the people who have been there for Blur even in its title Blur has tried to appeal to their generation those who have been on this journey with them. Darren refers to Blur’s security guard and resident every man Darren “Smoggy” Evans. But the title is more than just a nod to an old friend, Darren is a name that is synonymous with the generation Damon, Graham, Alex and Dave grew up in, and that name seemed to lose favour with the public, in fact it dropped out of the Top 100 Boys Names in 1994 just as Blur began to win favour with the British public. There's something quite beautiful in that.
Is where the Blur story ends? I really hope not.
It would be a fitting end. But I really hope that it's not. 2024 marks the 30th Anniversary of 'Parklife' and a summer stadium tour would be a fitting party.
Damon, Graham, Alex and Dave. Don't you think so too?
I mean it really, really, really could happen.
Someone check Damon Albarn's diary and make sure Jamie Hewlett's busy.
Thank you for reading x
For Archie, Dylan and Lauren x