A Rush of Adrenaline to the Head

A Rush of Adrenaline to the Head

Lisa Dreher, Staff Writer

It was a much overdue four-year wait that subdued Coldplay’s popularity explosion in the wake of their critically acclaimed fourth release Viva La Vida or Death and All His Friends (2008). Since then, the popularity of the British alternative rock band has dwindled to a few loyal fans, last seen clutching onto their copies of Parachutes and A Rush of Blood to the Head.


After news of a new release, Mylo Xyloto, came to light, many dismal fans were ecstatic of the band’s wake from the four-year period of silence. Even the fair-weather fans and lovers of only Coldplay’s most publicized and renowned singles, theose people who had completely forgotten about Chris Martin and his dauntless, outgoing personality, or the bands peculiar, mismatched, randomly pieced together getups from their Viva la Vida tour, reclaimed their love for them. Those living in the DFW Metroplex swarmed to the American Airlines Center on June 22, 2012 to bask in their greatness once again.


Opening up for Coldplay was the band Wolf Gang, hailing from the same mother country as their predecessors. Lead singer Max McElligott revealed this when he said to the impatient audience, “We are Wolf Gang, and we are from London”, and as the southern-bred girls swooned over the charming foreign accent, mutual approval was immediately established amongst the fans. Wolf Gang played their hand of anthem-like, exhilarating singles such as “Lion in Cages” and “The King and All of his Men”, but also tugged on the heartstrings by delicately plucking on the guitar strings in “Midnight Dancers” as a melodic piano swiftly carries it along.


Wolf Gang left the crowd with a good impression, opening the stage for the next band, starting the liveliness again. A wave of 80’s inspired synth-pop drums and a reverberating mix of buzzing showed that they were the very opposite of the spectrum. Swedish euro-pop singer Robyn’s almost artificially high, vibrato voice sang of passion, lost love and a moment of rejuvenated self-confidence. The extremely catchy beats thumped in a steady, driving patterns, but nonetheless possessed some addicting energy that bounced off the walls.


Finally, the wait was over. Chris Martin, Johnny Buckland, Will Champion, and Guy Berryman jogged out onto the stage with a sense of extreme gratitude. As they looked up, down, and around at all the immensely devoted and the fad fanatics, the crowd erupted and roared with happiness and relief that they are still alive, still unique and still together. It was fairly dark at first, until a sea of neon colors radiated off the sides of the walls, and bright, white lights illuminated the stage and small sparks of danced on both ends.


“Hurts Like Heaven” launched the crowd into a frenzied state, Martin’s vocals more spirited in comparison to earlier albums. Then the all so familiar “In My Place” off of A Rush of Blood to the Head, with its memorable, sing along lyrics and sway back and forth momentum unified the stadium, the awestruck audience singing the chorus, Martin watching and listening to his own words repeated back by a thousand voices. The stage was set up much like a catwalk, and so he could dance his spastic, energetic hopping up and down, a model for vivacious and secure performers everywhere. An eerie, solemn silence fell upon everyone that filled up the atmosphere, with only melancholy piano chords and Matin’s voice peaking in pitch, full of grief as he sang “Fix You”. In the darkness, “lights will guide you home/and ignite your bones/but I will try to fix you” were enough to send shivers down ones spine, a collective feeling of woe and complete loss found the heart of each person. Many other new songs, including “Princess of China” and “Paradise”, and reminisce filled ones like “Clocks” and “Viva la Vida” followed. The finale was the fist-pumping “Every Teardrop is a Waterfall,” dutifully synchronized with the lit up bands that bursted with flashes of bright colors, sending everybody home content, and literally on a good note.