Confessions of a Britpop Obsessive | Blur at IMMA 2013

Blur at IMMA - 1st August 2013

Going to see Blur at IMMA, Kilmainham three weeks ago was not a snap-decision.  Having heard the news of their upcoming concert as far back as March, I procrastinated wildly about buying a ticket for months. This was partly because other priorities [work] were taking precedence, but also because I was somewhat concerned that my fond memories of the band in their 90's prime would not be matched by their reunited, current version.

You see, Blur occupy a very special place in my heart - for, like so many others in attendance on the 1st of August - they were the band of my youth.  Having grown up in a house which force-fed its inhabitants with a strong grounding in all things musical [and depending on your taste, some pretty good rudiments - from Cohen and Morrison, to Cream and Fleetwood Mac, Bowie and everything in between] - Blur were the first band I felt were my band.

I didn't buy the frenzy of Britpop in its [sometime] teeny-bopper form, but instead marvelled at the burgeoning success of one of its key players - having discovered them when 'Modern Life is Rubbish' was their most recent offering, and 'Parklife' was waiting in the wings.  Being now at an age where I reckoned I'd last seen the band live, oh, twelve-or-something years so - I was somewhat shocked to realise, that, in fact, it was seventeen years since the last live experience.

Imagine, the excitement, then when I landed at IMMA, and to the Blur | 21 Exhibition, which charted the band over the course of their career in pictorial form. Those of us wandering around the Royal Hospital to a background soundtrack of B-sides, nodded deferentially to one another - all clearly remembering the NME, Melody Maker or Q Magazine we first saw an image in.  There were endearing vignettes to be enjoyed, including artwork with notations for various changes - the fodder of true fandom.  It all provided a marvellous entrée to the main event, which, I'm pleased to say was definitely on a par [dare I say, perhaps even better... though that might be tainted by age] with the last performance I had seen... some years earlier.

Though I've heard different reports since the concert - my own experience of the venue was very good - and it definitely provided a conducive environment for a [mainly] relatively mature audience.  An eclectic choice of support acts [The Strypes and Bat for Lashes] provided ample warm-up and I suspect there may well be quite a few converted fans as a result of their individual sets.  However, the fizzing nervous energy around the front of the pit was palpable as Blur's logo beamed onto the screens, and for what seemed like an eternity, intro music buzzed in the background and groups of fans chanted their personal favourites [I was just beside a large group of Italian fans, mauling 'Tender' and several other songs].  Thankfully, the arrival of the band onstage silenced all karaoke efforts with 'Girls and Boys' and well-and-truly, Blur were back, with serious gusto.

They seemed to be enjoying it too, as though the 'are-they-aren't-they' question abounds continually, Blur as a renewed collective just appear to be doing what feels right to them.  There was no stressed or laboured efforts with any of the songs, no inane chatter about being back on the road, rather a genuine sense that something's working well for them.  There were smiles and guffaws of laughter onstage, and plenty of water sprayed at the expectant crowd - the buzz was incredible.

Moving apace through a setlist which contained a 'favourite song' for everyone - whether your preference was mainly their early-days, Parklife or late-nineties / noughties - their energy was spectacular.  For this fan, I couldn't fault their choices - but was very glad 'For Tomorrow' and 'To The End' made the cut.  Having 'Tender' and its refrain sung, robustly, back to you must be quite a wonderful feeling - and as has happened at other recent concerts, this audience kept the chorus going.  A guest appearance from Phil Daniels for 'Parklife' brought us all rattling back to 1994 in three minutes, as well as trying to keep up with Phil's speedy delivery of 'Vorsprung Durch Technik' - and towards the encore which spliced last years' 'Under the Westway', with 'For Tomorrow', and 'The Universal'.

Of course, those wishing to pogo got another opportunity to do so - 'Song 2' ended the night - and left us reeling, hoping for more, and definitely, definitely wishing they'll be back.