This was our second occasion seeing Coldplay for this tour. After the color and the joy we experienced at the first concert, it was super easy to say yes to a second show. During this time, Levi’s Stadium and the San Francisco 49ers football club were experiencing a strained relationship with the city of Santa Clara. A weeknight 10pm noise curfew was in place and it was a sore spot for many touring acts. Ed Sheeran cancelled a Santa Clara date because of that curfew. Coldplay tried to mitigate the early curfew with a request to the city for an extension. This extension was promptly denied. So with a start time of 7pm on a Wednesday night and three acts performing, it left many people to wonder what was going to happen. Would the show stop at 10pm? Really?? The fine for surpassing the time limit is reportedly $1000. Fair to say that Coldplay were going to ignore the time constraint and pay the measly grand. Ultimately, a few days before the concert, the team president notified the city that Coldplay would be the last act to play a weeknight concert at the venue. Unfortunately, it look like the stadium and city would likely lose out on future revenue.
As for show day, we planned our itinerary pretty well. We made reservations at the reasonably priced, well rated Avatar Hotel on Great America Parkway. The venue was a 15 minute walk away. My wife planned on wearing a stylish outfit that night with heels, not the most appropriate shoes for a mile long walk. To her credit, she was ready to give it a go, however I recommended we take an Uber over to the stadium. I really wanted to save her feet. We made it to the front gates in a flash, despite the congestion on the road. Arriving early paid off. We were able to enter the venue and pass through the security measures with ease and without getting caught up in crowd congestion. The tone has changed in regards to security. This show occurred two days after the infamous Las Vegas Massacre, where a sniper shot at Route 91 Harvest festival goers, resulting in the greatest loss of life ever in an American mass shooting. Security and police presence were increased, it was calming to see so many vigilant staff and PD in and around the venue. Venue security along with police personnel were on high alert. Their presence was intensified and the bag checks and security screenings were completed vigilantly and efficiently. As we passed the metal detectors we came upon three armed uniformed officers, one with an AR rifle slung. It was a very welcomed presence from our perspective. One of the officers smiled broadly and said “nice shirt, man.” The officer was referring to my Tom Petty 40th Anniversary Tour shirt, my wife and I caught the 9/1 show in Sacramento. I smiled back and said an appreciative thank you and we moved along, eager to find some eats. We took our time and made our way to the concourse level. The event staff were so helpful and gracious, approachable and eager to help us around their stadium. They enjoyed their jobs and were eager to help us around their enormous house. You could feel the love. After surveying all the food options we went for the taco vendor, asada for the win. We initially thought about trying the Pub grill, but we figured we’d take advantage of the short lines in the concourse. While in line I spotted a lady wearing a similar Tom Petty 40th tour shirt. We said hello and discussed Tom’s recent passing, she was very sentimental but happy to see tonight’s Coldplay show. We made our way to our seats and luckily the sun was setting by this point. Levi’s Stadium is notorious for having no shade apparatuses whatsoever. People bake in the Autumn months during game days. I initially had misgivings about these seats. We were mid level in the 207 section, with a diagonal view of the main stage. Luckily, we were in the 6th row somewhat behind a partition. Our first stadium gig experience was for the 9/03/16 Coldplay show at this same venue but we were very close to the stage. These seats would give us a different perspective, we’d be able to witness the concert from full frontal vantage point instead of side-stage.
Alina Baraz and Tove Lo opened the show. Alina’s set was underwhelming. To some she was chill, to me she was underwhelming. She was off key at times and doesn’t know how to dance. She does that gentle croon and kind of sways with the music. She doesn’t look like the girl in her social media pics. Her public image thru social media shows a slender, almost gaunt girl. In the flesh she’s more on the full figured side and healthy looking. There’s nothing wrong with that, but in this day and age it just continues to prove that fake is the new real, and one’s social media images are really just avatars: exaggerated and idealized representations. Sorry people, just doing some critical thinking. Tove Lo brought a stronger performance. Her signature songs “Habits” and “Talking Body” were the best received songs of her set.
Coldplay was set to go on and the vibe inside the stadium intensified, despite the chill of this October evening. For us, It was a different kind of excitement. I think because we caught a show on the first leg of the tour, we knew what to expect and we sort of felt like veterans, with a kind of faux insider knowledge of what was to come. Additionally, there was a vibe in the air that bordered on somber. It was a serious time and we even questioned whether it was appropriate to be enjoying something like this after so much carnage had taken place only a couple days previously. After the first couple numbers, Chris Martin said something like “The world is a mixed up place and all we can do is give you the best show that we can.” At the time it seemed grossly inappropriate to even think that life goes on. After much reflection and perspective, one has to agree, yes it does go on – it must. On a side note, this relates to something Styx drummer Todd Sucherman said at a drum clinic I attended this same month. To paraphrase, he said something along the lines of “you had the gumption to get dressed, put on your shoes, and travel to a live event. You wanted to experience something in the moment, in the now. Follow your passions, follow those noble pursuits, do something that excites you, because not to be a downer…after all of this, we die.” It was noble that Coldplay were going to perform and provide us with a temporary escape, a moment of connection, joy and celebration. They weren’t going to let anyone down and would perform to the best of their abilities. Like something Bruce Springsteen had said, they would perform as if tonight could be someone’s first concert, as if tonight could be someone’s last concert.
This set was very similar to the Leg 1 set with the exception of three songs. This time around the group omitted “Birds”, “Till Kingdom Come” and “Amazing Day” in favor of “God Put a Smile Upon Your Face,” “O” (with an audience member on piano) and “Something Just Like This.” The set was similar in format to the 2016 concerts, with the set structures, multiple stages, light shows and video montages still intact. The joyous bombast of “Head Full of Dreams” got the show to a celebratory and explosive start, the fireworks and confetti cannons adding to the jubilation in the stadium. We feared that our seats would make us feel like we were watching a TV screen, as if we were half a world away. However, even though we were further away from the stage, we still felt included and part of the action, we still felt like a part of the show. We jumped, we hooted, we hollered, we sang along. Like the 2016 gig, there were so many smile inducing moments at this show. What comes to mind is the barrage of color. The images on screen, the waves of blinking xylobands, the confetti canons, the fireworks displays, lazer shows, pulsing lights, etc. etc., the sights alone are enough to stir you. Other great moments included the surprise performance of “O” on the C stage at the back end of the stadium. A kid named Reese held up a sign and Chris Martin plucked him out of the crowd. Chris mentioned that they were going to give it a try and asked Reese not to be offended if the duet doesn’t work. Without mentioning the song title, Reese began fingering the opening notes to “O” off of Ghost Stories, a delicate and sentimental piece, the title inspired by a Shel Silverstein children’s book ‘The Missing Piece Meets the Big O.’ The crowd responded with a quiet gasp and applause, then listened intently. The performance was great for an impromptu, surprise duet. “Don’t Panic” featured drummer Will Champion on lead vocals. And the stripped down “In My Place” included the chorus to Tom Petty’s immortal “Free Fallin,” prompting a sing-along with the audience. Another great stand out moment for me occurred during “Charlie Brown.” There was a family sitting behind us: a little girl, a couple teen boys and their parents. And during “Charlie Brown” we were asked to put our phones away, per Guy Berryman’s request, and to bounce up and down with the beat. Everybody bounced and we could feel the concrete beneath us move under our feet, the sea of bright xylobands bouncing along as well. It was scary and amazing at the same time. And all the while, the kids behind us sang the keyboard hook to “Charlie Brown” out loud, those 11 notes at the end of the hook: na na na, na na na, na na na naa naaa (C D E, C D E, C D E D C). I couldn’t help but sing along as well as we jumped up and down. At the end of the concert, “Something Just Like This” and “Sky Full Of Stars” worked as an appropriate combo bringing the set to a bouncing yet celestial end. “Up and Up” closed the show with its gospel flavored choruses and final clusters of fireworks. It was another stellar experience and happy to witness it from a different part of the venue. It was wonderful to see this group again and we countered ourselves very fortunate that we could experience something like this for a second time. We would even consider bringing our kids along the next touring cycle. The music and the show are that enjoyable and accessible.
There’s only one way to adequately describe this gig: It glowed. The visuals, the music, the vibe…it all GLOWED. This was one of the most gratifying live sets we’d ever experienced, beginning to end, and it was miles beyond what we experienced at the 2003 show. The live set was generous, greatly entertaining, and emotionally satisfying. This tour was in support for their latest colorful offering, A Head Full of Dreams. The tour also served as the proper tour for Ghost Stories as well, released 2 years prior with only a handful of promotional concerts booked. We couldn’t NOT see this concert, as my wife and I were big fans of the previous 3 albums, and it had been over a decade since we last saw Coldplay in concert during the Rush of Blood Tour. Chris Martin had said in an interview that Coldplay was finally at a stage in their careers where they could construct a more than solid setlist. “I think we’re just about at the point in our career where we can get through a concert without playing anything shit. Only now. If we put all our amazing songs together that covers about 20 minutes. Then fill the rest with just pretty good ones.” I think he was still downplaying the quality and staying power of their material, because almost all of those 22 selections were anthemic, emotional rollercoaster sing-alongs. There were several points where we were either misty eyed or fully wept like sissies. Only Morrissey has been able to do that to me in a live setting. These sentimental songs and this stage production were made for stadiums. It was a big show, yet intimate, refreshing, colorful, vibrant, and kaleidoscopic. It’s like we were bathed in color throughout the whole show. It had all the bells and whistles of an riveting outdoor gig. Add energetic yet earnest performers, plus 2 hours of emotionally and spiritually satisfying music and you’ve got a unforgettable concert, easily in my top 3 gigs of all time up to this point. To those with little familiarity with this group, what is the music of Coldplay you might ask? Imagine hugging someone you care for. It feels comforting, warm, secure and serene. Corny as it may sound, for my wife and I, that’s the music of Coldplay.
Levi’s Stadium in Canta Clara, near San Jose and San Francisco, is a gleaming venue and new home of the San Francisco 49ers. It’s shiny, gigantic, posh and state of the art. Max capacity is listed at 75,000 when all space is fully utilized. I’d venture to say this crowd was around 70,000, as there was no 360 degree seating. It was a sell out and we got the full effect of a sell out stadium crowd at night with the xylobands in full use. The xylobands are the wristbands handed out to every audience member. Different colors and blinking sequences are activated according to song selection. It was impressive and breathtaking, it was like a sea of blinking color rising up into the sky, a tsunami of colorful LEDs. By sheer luck we scored seats at the club level and fairly close to the stage, row 7 in section 135, perpendicular to the main stage (thank you, Amex pre-sale). We had a nice side view and up close. We were going to see fireworks, figuratively and literally. The group utilized three stages in total: the main stage, the b-stage with a runway connecting to the main stage. And finally a tertiary stage at the rear of the venue. “A Head Full of Dreams” was the first number in the set, preceded by an extended synth intro and a recorded speech by Charlie Chaplin. It’s an excerpt from the film The Great Dictator. The excerpt goes “…we all want to help one another. Human Beings are like that. We want to live by each other’s happiness. Not by each other’s misery. We don’t want to hate and despise one another. In this world there is room for everyone, and the good Earth is rich and can provide for everyone. That way of life can be free and beautiful but we have lost the way…” and the group began the familiar rhythmic rumble and soaring melody. The sequence opened the show with celebratory and explosive bang, complete with vibrant color patterns on the video screens along with synched fireworks and confetti. The explosions from the confetti and fireworks rattled us, we could feel it in our chests. The Chaplin monologue and the song made for a cathartic opening. The song bounced it’s way along and the group and the acoustics sounded GOOD. We couldn’t help but look at the stage, up and all around the ginormous venue and smile. At the close of the song, the crowd continued the ‘ohh oh ohhhs’ of the outro as the group burst into a vibrant version of “Yellow.” Martin strummed along on an acoustic guitar while the stadium followed along ‘…look at the staarrrrrs…look howww they shiiiine forrr yoooouu..’ Martin grinned as the group continued to play and the crowd kept up the euphoric sing-along. At song’s end, the stadium dimmed to pitch black, and then the opening keyboard lines to “Every Tear Drop is a Waterfall” began, and the stadium slowly flickered on, the Xylobands were activated and a sea of blue-violet LEDs materialized throughout the stands. Neon violet trim outlined the stage and Martin began to sing ‘I turn the music up, I got my records on, I shut the world outside until the lights come on, maybe the streets alight, maybe the trees are gone, I feel my heart start beating to my favorite song…’ and the energy level continued to rise as the xylobands increased in intensity, becoming brighter and more numerous as the song progressed. The song gained momentum and hopped into action, bouncy and exuberant. Will Champion laid down a thumping 4 beat on the bass drum and the song thumped and chugged along. The sing-alongs continued throughout the chorus. Chris Martin was going at it full power, loud open throated singing and easing into his falsetto. A cluster of violet fireworks and a fiery burst of pyro ended the song in a triumphant crash. The energy level was brought down for the delicate and sentimental “The Scientist.” The xylobands took a rest and the main stage was illuminated with house lights only so the crowd could see the group with none of the flash, frills or gimmicks. Martin sat at a colorfully decorated upright piano and the sing-along continued as the crowd filled in during the entire song, especially the ‘nobody said It’d be easy’ part. The added twist was the addition of a section of “Pure Imagination” from the Willy Wonka & The Chocolate Factory film, in honor of the late, great Gene Wilder. Our son’s favorite Coldplay song, “Birds,” was next. The video screens flickered on, showing an animation of a flock of birds as the intro played. The intro was adorned by a section of “Oceans” off the Ghost Stories album. The song was uptempo and more anthemic, providing an energy boost after “The Scientist.” At song’s end, the stage lights came down, pitching the venue into darkness again as Johnny Buckland began strumming the intro to “Paradise” on his Telecaster Thinline. Martin joined in on the upright and the xylobands were once again activated and the venue became bathed in shades of blue. The intro was guitar and piano heavy, with the string section removed for this live intro. The crescendo kept building as Martin pounded on the keys with greater intensity and Buckland’s volume increased, and then Will Champion and Guy Berryman joined in on the downbeat and the song was off to a dreamy start. That’s one of their newer offerings that gets us every time. As a music piece it’s lush and angelic, those strings kind of whisper their way into the world and then rise and fall, the piano following along with those delicately fingered melodies. And then there’s the lyrics. Those lyrics mean so much to so many people, ‘Life goes on it get’s so heavy, the wheel breaks the butterfly. Every tear a waterfall, in the night the stormy night she’ll close her eyes.’ For a song that can be so melancholy, it’s still uplifting and comforting. The crowd filled in wonderfully on the ‘oh-oh-oh’ sections and the serene brit-pop continued to hit us. To change up the tempo and the mood, the song switched gears and melted into the Tiesto remix for the final few bars, providing an EDM flavored outro. This closed out the first portion of the show on the main stage. The next string of songs took place on the B stage in the middle of the field. More poignant numbers were presented during this portion of the set. Ghost Stories songs were presented, with “Always in my Head” and “Magic” performed spot on close to the original versions. Then a tender and stirring version of “Everglow” was performed. “Everglow” was performed with vocal and piano only. Described as a song about “giving love,” Martin sat at a baby grand piano on the B stage. The stripped down arrangement made it even harder to listen to than usual. It was more melancholy, yet sweeter in a way. I still prefer it like this in it’s purest form, just piano and voice, over the studio original. The song was followed by a video tribute to Muhammad Ali. The excerpt goes ‘God is watching me. God don’t praise me because I beat Joe Frazier. God don’t give nothing about Joe Frazier. God don’t care nothing about England or America as far as we’re aware of. He wants to know how do we treat each other, how do we help each other. So I’m going to dedicate my life to using my name and popularity to helping charities, helping people, uniting people. We need somebody in the world to help us all make peace. So when I die, if there’s a heaven, I want to see it.’
The band transitioned back to the main stage for the next sequence of songs. “Clocks” began the set with the crowd bathed in red light, the xylobands flickering on. The arena lights plus the xylobands made the crowd look like an eerie sea of red, complete with red tracking lazers. “Clocks” sounded like the studio original but with more power from Will Champion, we could feel the kick drum and the power in his snare strokes, and it sounded better than it did during the 2003 show, no excessive sustain from the piano. A section of “Midnight” off Ghost Stories followed, providing a breather and leading to the joyful “Charlie Brown” off Mylo Xyloto, with the xylobands in full swing again. The vibrant groove, “Hymn for the Weekend” followed, getting the audience to shake it and sing along on the “so high” sections. The grooving funk-pop of “Hymn” ended and once again gave way to another breather in the set: the keyboard intro to “Midnight” appeared once again, acting as a kind of bookend. The surprise occurred when Martin began singing the opening lines of “Fix You” over Midnight’s electronic intro, ‘When you tryyy your best and don’t succeeeeeeed.’ “Fix You” has been called the lynchpin song of the X&Y album. It’s ethereal and cleansing, with that church organ intro on the studio original and plaintive lyrics. For this tour, the intro has been reworked. Gone is the organ intro and the first verse is sung an octave lower than usual. It’s a different interpretation, but the same vibe. Chris Martin stepped out from the main stage and onto the runway leading to the B stage. He laid down on his back on the runway and sang the opening lines like that. He went back into his higher register for the chorus, ‘lights will guiiii-ah-iiiiii-ah-iiiiide you hoooome, annd igniiiii-ah-iiiii-ah-iiiite yourr booones…’ Martin quickly popped back up and the group went into the crescendo, leading to the bridge and final chorus. The audience joined in loudly on the final “lights will guide you home” section, ending the song with an elative sigh. A surprise cover of David Bowie’s “Life on Mars” followed with guest accompaniment. The Oakland School for the Arts Choir joined in and provided background vocals, powering the song along with stirring harmonies. It was a stirring and convincing cover song with several Bowie fans singing along. This sequence of tracks ended with the lush and up key “Viva La Vida” and the funky “Adventure of a Lifetime,” which also happens to be my daughter’s favorite Coldplay song 🙂 After the final ‘woo-ooos,’ the band then made their way to the C stage toward the very rear of the venue. There they presented stripped down, acoustic versions of “In My Place,” “Don’t Panic” and “Till Kingdom Come.” The stripped down take on “In My Place” worked, with Jonny Buckland’s lilting electric guitar melodies ringing throughout the stadium. “Don’t Panic” was the second and final song from Parachutes to be performed, and it featured a hilarious backstory from Chris Martin who recounted Coldplay’s beginnings, and Jonny Buckland’s train wreck of a date (tuna salad) that led to this song. Band introductions continued, with Chris Martin teasing bassist Guy Berryman about his “Loreal advert skin and Colgate smile, sponsored by Pepsi.” Berryman had this classic, sheepish grin, bashful and somewhat embarrassed. The group introduced the final song of this sequence as the Instagram dedication. A fan made a video request, expressing that “Till Kingdom Come” embodied and symbolized her feelings for her husband. I had never really paid much attention to TKC in the past, but this performance was great and very touching. The group returned to the mainstage for the final, anthemic numbers of the night, closing the show with the trio of “Amazing Day,” “A Sky Full of Stars” and “Up & Up.” Sky Full of Stars was so appropriate, the clear Norcal sky opened up and provided a natural backdrop for the track, the starry sky appearing like pinholes in the curtain of night. The vocalists from the Oakland School for the Arts rejoined the group and accompanied them on “Up & Up,” their voices fleshing out the choruses and expanding the palette of sound. The combined voices and uplifting quality of the track made for a quasi-religious experience. It was positive and purifying. The whole gig was an amazing experience and worth every penny and then some. Underneath all the technology and glitz, the common denominator remained the music. I personally feel that the group could have performed on a flatbed truck with house lights only and they still would have enthralled the audience. They grabbed us with the music. Touched us with the connection. And blew our minds with the show. Coldplay gets mocked much in the same way U2 gets mocked. Both groups have loquacious and sometimes overbearing lead singers, and to many they’re inherently uncool because they wear their hearts on their sleeves. But I/we have no problem professing love for both groups (yes, you can love both). And there’s something especially charming about the way Chris Martin speaks to the audience. He’s a natural talker with a good sense of humility: personable, witty and engaging, making a stadium gig even smaller and more intimate. It was like he was having a casual conversation over coffee at arms reach. We’ll be returning for the second leg. Thanks, Coldplay. Anyone catch the Highlander reference?
Wowee…my girlie and I had one of the most uplifting concert experiences ever, It was beyond belief really, we along with the other 15,000 or so people were caught in this hypnotic sensation the whole night. These guys were just as good as U2 during the Elevation Tour, and that’ s saying a lot. Coldplay made the Cox Arena in San Diego feel like a living room. The crowd hung on to every word and to every note. The song selection was awesome, even though they left out some key tracks like ” Shiver,” ” Green Eyes,” and ” Warning Sign” in favor of obscure B sides and a new song called ” Moses” (which was sweet by the way). Martin’ s vocals were right on, rarely straying from the original vocal melodies, but embellishing the lyrics here and there with some improv work. The only complaint I have about the performance was the extensive use of sustain on piano which was especially evident on ” Clocks.” Still an awesome performance.
The light & lazer show complimented the concert well, adding some dream like imagery to the performance. There was no need for outlandish special effects or stage props. The music spoke for itself and left everyone awestruck. Chris Martin was very energetic, dancing and bouncing around, even rockin’ out on the upright piano. The entire set was great, it was entertaining and satisfying. Highlights included the surprising but appropriate inclusion of Louis Armstrong’ s ” What a Wonderful World.” Other highlights included the collective sing-along to ” All’ s Not Lost” and ” The Scientist,” the breathtaking ” Trouble,” which prompted a collective gasp from the audience when Martin introduced the song by playing the opening piano lines, and the showstopping ” Amsterdam” performed with the house lights on, ala U2 during the LoveTown and Elevation tours. This sounds corny, but I walked away from the arena feeling cleansed, feeling like I have so much to look forward to tomorrow. Their music is anthemic brit pop, uplifting feel-good music. I thank this band for creating moving music, something that’ s becoming harder to find in today’ s music market. Earnestness and tenderness can still go a long way.
God Put A Smile Upon Your Face
Rush of Blood to the Head
One I Love
Don’ t Panic
Everything’ s Not Lost
What a Wonderful World
In My Place