They asked that no one else play at the festival at the same time and justified the claim. At times that were still very Catholic for the danceable canons, the Chemical Brothers emerged in their usual positions, behind the machinery through which – almost without interruption – they would deliver irresistible ‘beats’ to an audience that alternated the contained register (in more abstract ‘landscapes’ ) with the inevitable explosions (when there is ‘banger’ on the coast).
If there’s one thing the Chemical Brothers have, it’s capital, arsenal, repertoire to sustain ambition. Thirty years of electronic sculptures, some more granitic, others permanently malleable, enough for a few entries in the encyclopedia – come the devil on the dance floor and choose – of techno, big beat, kraut, that rich psychedelic soup so appropriate for stretching the body as to exercise mental raves.
With a scenic apparatus that evokes another beautiful concert that we saw here, in 2018, at Rock in Rio Lisbon – lasers, synchronized images on the side screens, smoke – the Chemical Brothers show is a very accurate ‘continuum’ that only stops to breathe at the end. of an hour, only for the intensity to increase immediately afterwards in the walk to an end of ecstasy.
A trump card right from the start, with ‘Block Rockin’ Beats’, ‘Go’ and ‘Mah’. Still in the initial phase, the powerful ‘Hey Boy, Hey Girl’, following an unreleased one already premiered live, but apparently without a title released, animated by the images of a ‘marching band’ in shades of green, red and lilac – in fact, the sound of the bass drum moves from song to song in one of several seamless sequences that help make a seemingly disconnected ‘setlist’ make perfect sense as a whole.
The famous giant robots make their appearance in ‘Under the Influence’, in a concert environment where ‘Setting Sun’ is heard, a collaboration with Noel Gallagher from the birthday boy “Dig Your Own Hole”, 25 years well lived – too bad ‘Let Forever Be’, another later collaboration with the ex-Oasis, is similar to the Beatles’ ‘Tommorow Never Knows’, being an absolute rarity in the duo’s ‘setlists’.
An hour later, the lights finally fall on Ed Simons and Tom Rowlands, arms in the air like DJs from the 90s – which they are – and a little later, when ‘Escape Velocity’ echoes, there are a score of giant balloons doing ‘crowd surfing’. From there on, hoard: ‘Do It Again’, ‘Star Guitar’, ‘Galvanize’. “This never ends”, we hear, in anything but pejorative tone, next door. Finish is an overrated verb.
Source: Expresso by expresso.pt.
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