The sound produced by this band and Chris Martin’s voice are astonishing, just as good as their studio recordings. The future is about context aware personalized content adventures based on emotions and behaviours by leveraging technology and hands-on connections.Ĭoldplay stroke, after two decades, a balance that gives people the sparkle in their eyes by creating an end to end colourful experience full of emotions.Ī true gift for the ears, the eyes, the heart and the mind.
#A head full of dreams tour video how to
Many business people and especially marketers should study the Coldplay phenomenon on how to feed customer journeys, tell a creative story, be authentic, be context-aware, stay connected, to surprise and to engage.
They are after all the biggest band of this generation and probably the best of this generation.Ī four-player band that saw the light of existence 20 years ago. Through our ‘perseverance’ we managed to acquire 12 tickets, 8 normal and 4 Early Access cards to see this iconic band. On the day of the ticket sale a friend and I had three screens open three hours before the sale started. They were visiting our country as part of their latest World-tour. Months ago I got pinged by my daughter that the moment we were waiting for had come. My daughter and I promised each other our mission was to attend a concert of Coldplay and this especially after having seen their Blu-ray Coldplay 2012 Live concert on the big screen at home.
Two full house concerts attended by 100,000 generation X and Y (Millennial) fans. Last week my family, some friends and I had the pleasure to attend one of the two, within 30’ sold-out, Coldplay ‘A Head Full of Dreams’ concerts in Brussels. This article was amended on 7 November 2018, to correct the star rating.A Coldplay concert (Brussels): music for the Ears, the Eyes, the Heart and the Mind What comes across most vividly here is Martin’s face: incandescently smiley as a young man, lit up with the pure joy of life and still happy enough now, but tempered and clouded with those private woes that the film leaves out of the frame. (At one moment, Martin talks about the band’s perfect interrelationship: “It’s like when bacon, eggs, mushrooms and chips found themselves on the same plate.” A sarkier film would have gone for a Gwyneth gag.)Īt one stage, Martin comments that their collaborator Brian Eno works with bands who have become “massive and terrible at the same time he finds a way to keep the massive but lose the terrible …” Whitecross’s film keeps the massive, too, but insists that the massive is important, implying that ignoring or denigrating Coldplay’s enormous scale of success is obtuse. These things are not dwelled on, and certainly Martin’s conscious uncoupling with his ex-wife Gwyneth Paltrow is also tactfully treated. Drummer Will Champion was briefly sacked before a contrite Martin got him back, and the band’s manager and de facto fifth member Phil Harvey briefly quit before returning. Whitecross mixes the gobsmacking images of Coldplay’s gigantic live shows with the backstage material: Coldplay in the studio or in their offices, amiably discussing what should and shouldn’t go on the album, laughing, frowning, glowering at the haters in the middlebrow-broadsheet press. It is the one moment of ironic self-satire in a film otherwise entirely reverential. Director Mat Whitecross cheekily plays us phone-conversation audio of frontman Chris Martin begging him not to begin with the cliched backstage image of the band going out to face their audience – and then doing precisely that. This film looks back at Coldplay’s march to world dominance over the past 20 years and focuses on the tour for their latest album, A Head Full of Dreams. It could be seen as part of an emerging music-doc genre: home-movie intimacy, in which contemporary footage is interspersed with a treasure trove of milky analogue video showing the star’s heartbreaking moon-faced youth, shot by friends or family (schooldays, first gigs, practising in scuzzy student rooms, hungover morning journeys in buses and cabs). Still less is it looking for any Spinal Tap satire. It sees no great need to look for the flaws, the problems, the loose thread that could be pulled so the whole thing comes to pieces. T his is a watchable, if blandly celebratory and unchallenging portrait of a massive rock institution.
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