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Sam Brown interview: “I don’t want to criticise anyone who wants to look like a doll”

By Ian Wade | February 7, 2023

How Sam Brown came back from the silence (with a little help from ukuleles)…

B ack in 1989, Sam Brown whisked her way to the top with the anthemic single Stop! and a handful of chart hits, transforming the life of a session singer who’d worked with the stellar likes of Small Faces, Pink Floyd and Spandau Ballet .

In 2007, she lost her voice and could no longer sing or hit the notes she used to. Undeterred, Brown adapted to her new predicament and has since been running ukulele clubs across the world. Her new studio album, Number 8 , is released next January.

Tell us about the new album, Number 8 …

I’ve got this friend who I’ve known for years, Danny Schogger, who suggested we should write together. I’d started working up a couple of instrumental pieces using a funky little keyboard that I have – I was just fucking about with it really, to be honest with you.

Many of the themes were electronica, a lot of sequenced music, which I love. We soon got into our stride, it just happened really easily and quickly.

I recorded the vocals then just stuck them in Melodyne [music-making software], so that I could add harmonies and stuff like that. I suppose I discovered another kind of creative process in that way.

Was it a case of finding your voice again?

Well, I find that I know what my voice can do. Now, I can sing quite low. And, you know, I haven’t really got any range, but I can get a half-decent tone on the lower notes. So, I knew that if I could get a good tone, I could slightly move it [with the software] and it would sound OK.

Singing was what defined me as a person, without wishing to sound too heavy about it. It’s now 15 years since 2007, and I’ve obviously pursued many different ideas, suggestions, routes: I’ve done voice training, I’ve done speech therapy.

• Read more: Top 20 compilation albums

I’ve had a couple of operations to remove polyps, which I suspect were there because of the problem with the voice, rather than causing it in retrospect. I’ve tried all sorts of different things, and none of it has changed [my voice]. It’s been really hard to deal with.

I think there’s still an underlying sort of depression, which will probably never go away because I’ve been singing my whole life and absolutely love singing. I loved it.

How did you cope with that loss?

I tried all sorts of things. I’ve worked for my friend who’s a florist, I sanded floors, I did loads of stuff. I’m very lucky because I do have a small royalty income, but because I was on my own with two kids, I did get into quite a lot of debt and eventually had to sell my house. But, you know, things like that don’t really bother me as long as you can find a way of making it work, it’s fine.

• Read more: Top 20 80s pop duos

You’ve been running ukulele clubs. How did that all come about?

The first club I started in 2010 was nine people in my front room and I really didn’t think it was going to work. I’d had a few drinks one night with some mates and made up this name, the International Ukulele Club Of Sonning Common, it was just a joke.

I never for a minute imagined that I would have nine or 10 clubs and be teaching 200 people a week, which is what’s happening now. Then I started a London club and was even asked to go to Australia.

I’ve got three Zoom classes with beginners, intermediate and advanced pupils online. I decided to have an umbrella for the whole thing and called it The Fabulous Ukulele Club.

Does it surprise you how good Stop! has been to you all these years?

Yeah, it does surprise me. It’s almost 35 years ago and I think I’m very lucky. That one song has been incredibly good to me and I’m grateful for it.

The whole royalty thing is really good because as a writer, you have to put in so much time without getting paid for years and years. Stop! was originally released in 1988 and I’ve been writing since I was 12, so it was amazing.

• Read more: Top 20 80s pop instrumentals

We presume you can no longer sing that song…?

When I was singing with Jools [Holland], I could sing it but when my voice actually went, it was… no, just absolutely no way.

That must be pretty heartbreaking for you…

I don’t have a problem with it at all. The drama has gone out of the situation. There’s definitely a sort of residue, because I would love to be able to sing again. But, you know, life goes on doesn’t it?

The new album is great. Is it fair to say that you’re presenting a character on the record?

Well, that’s an interesting point, I suppose. In some ways, yes. Not a preconceived, deliberate character, but it’s all about being fake. The lead track will probably be Doll . It was really interesting to write the lyrics because I don’t actually want to criticise anyone who wants to look like a doll.

I’m literally asking the question: ‘Why do people feel they have to look a certain way?’ I’m an old bird, but with social media, people have an opportunity to present themselves in the way that they would like to be seen. I think that’s actually really valuable.

Number 8 follows the pattern of album titles spelling out your name…

I had absolutely no idea whatsoever. I wish I could remember who it was who came up to me and said, ‘That’s really clever what you’re doing with the album titles.’ I said, ‘What do you mean?’ And he said, ‘You’re spelling out your name’. I still didn’t have any idea at the time.

What are you planning to spell out with the next album as you’ve now completed ‘Sam Brown’?

I don’t know. I’ll probably have to start at the beginning of the alphabet or something. Or maybe I’ll call it Number 9 …

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232: Sam Brown and the Concert for George

Podcast: Play in new window | Download

Long on the list of my coveted guests has been singer-songwriter Sam Brown. The daughter of Joe Brown – an early UK rock legend – and Vicki Brown – an astonishingly gifted singer herself – Sam’s career as an artist kicked off in 1988 with Stop!, the first of seven albums. (The first letter of the titles spell out her name – the 8th installment, titled  Number 8  is due out this year.) Sam is also known for singing with Pink Floyd and David Gilmour, as well as on television and on tour with Jools Holland. It was with Jools that Sam took center stage at the 2002  Concert for George , stealing the show with her reading of George’s last recorded composition, “Horse To The Water.”

She has remained active as a performer and a recording artist, despite tragically losing her ability to sing in 2007, following surgery. The mysterious condition forced a re-think of her career and led to her establishing a decade-long running group of clubs empowering folks to take up ukulele. In this conversation, we discuss her career and the struggles of being an artist – her friendship with the Harrisons and working with George – the concert – and how she’s managed the challenging events that followed.

Sam is a resourceful and resilient artist whose rich catalog is worth exploring. You can check out her work here: https://open.spotify.com/playlist/37i9dQZF1DZ06evO1Tns40

“Stop!” live:  https://youtu.be/WROOE-0IfjE

“Valentine Moon” – fixed:  https://tinyurl.com/548b7ssb

Terri Hemmert’s  Breakfast with The Beatles  on Sunday at 8am CDT: https://www.audacy.com/wxrt/beatles

1 thought on “232: Sam Brown and the Concert for George”

For me, the most meaningful moment of the Concert for George was Paul singing All Things Must Pass. I can’t say for sure, but I suspect George would have been touched not just that Paul sang it, but that he did so with such feeling. It touched me.

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Sam Brown - Interview Part 1

  by nick dent-robinson, published: 24 / 2 / 2014.

In the first part of a two part interview singer-songwriter Sam Brown chats to Nick Dent-Robinson about her bestselling debut album 'Stop'...

Singer-songwriter Sam Brown has performed with the elite of the UK’s music scene since the late 1970s. Daughter of top 60’s guitarist Joe Brown and his vocalist wife Vicki, Sam had a major international success with her own composition ‘Stop’ in the late 80s. She has enjoyed a packed career since. This has included a world tour with Pink Floyd, years on the road as a lead vocalist with Jools Holland plus penning songs for some of the biggest names in the business. But a few years ago Sam had a cyst removed from her vocal chords and her voice has never fully recovered. In 2007 she released her album ‘Of the Moment’, but since then Sam has had to focus on non-singing activities. She has undertaken vocal tuition, worked at a florist's, produced records and written plus arranged a lot of music. For the last three years she has concentrated on teaching the ukulele. She now runs several large and hugely popular ukulele groups with well over a hundred enthusiastic players. The Fabulous Ukulele Club and the original International Ukulele Club of Sonning Common have featured on radio and TV and regularly perform at major festivals and other venues, including some international appearances. It has been a big success story for Sam. But in this interview Sam, who will be 50 later this year, takes the opportunity to reflect on her earlier career. She recalls some of the highlights from over thirty-five years of working with the world’s most renowned rock musicians. It is an early spring evening as Sam Brown welcomes me into her village home in rural Oxfordshire. Her hair is a rich chestnut colour with a touch of titian. It contrasts strikingly with her smiling blue eyes. Inside, the scene is a familiar one. Food is being prepared in the spacious kitchen; sophisticated music plays in the background; attractive artwork adorns the walls. There is the usual clutter of ordinary family life and the atmosphere is cosy and warm. Very Middle England. But Sam is not just your average 49 year-old householder. There is a hint of this from a guitar and ukulele resting in the corner of the lounge. Further evidence is the magnificent hand-bound book Sam passes me to look at while she serves the evening meal. For this is the commemorative album presented by Olivia Harrison to every artist performing at the 2002 ‘Concert for George’ at the Royal Albert Hall. Sam was the only solo female vocalist in the rock section of the concert. Eric Clapton was musical director and Jeff Lynne oversaw recording of the event, which took place one year to the day after George Harrison died in November, 2001. It was an historic occasion in rock’n’roll. “That was definitely a high spot of my career,” Sam tells me later as she settles in a comfy sofa with a glass of red wine. “I felt so honoured to be included. This event finally convinced me I had the respect of some of the greats of rock music, people I really admire. Eric and Jeff were so kind to me. Until then, despite all my achievements, I’d always lacked a little confidence.” The line-up was spectacular. As well as Eric Clapton and Jeff Lynne others included Paul McCartney, Ringo Starr, Dhani Harrison as well as Klaus Voorman, Billy Preston, Gary Booker, Albert Lee, Jim Capaldi, Ravi and Anoushka Shankar plus Jools Holland, who accompanied Sam. Although Sam had sung at the Albert Hall on at least thirty-five previous occasions, she was nervous. “But adrenalin provides the spur which can make a performance special, give it charisma. As soon as the music started I was fine,” she recalls. Sam’s dad, Joe, brought the concert to a close with the perfect finale. His rendition with ukulele of the standard ‘I’ll See You in My Dreams’ was unforgettable. As he played, red flowers started to fall from the ceiling over the whole auditorium. There wasn’t a dry eye anywhere. “It was a very emotional evening for all of us. The atmosphere was charged in a wonderfully warm, almost spiritual way. George had been one of my dad’s greatest friends. He was a very special person. He was spiritual but forthright and grounded, too. George was best man when dad remarried after my mum died. Dad was just so glad to have the opportunity to pay his respects by doing that song”. Besides her Albert Hall performances, Sam has been involved in quite a few historic high points in the music world. Barely into her teens, her first professional recording job was with her mother Vicki providing backing vocals on the last Small Faces album, ‘In the Shade’. Not much later and still in her young adolescence, Sam was to make her live singing debut with Steve Marriott and Ronnie Lane when they performed together as ‘Blind Drunk’ at the Bridge House pub in Canning Town, East London. “Yes, I did that with my foster brother Richard (Newman) who was even younger than me, playing drums! Dad was supposed to be there but couldn’t do it so we helped out. It was great. Fantastic East End atmosphere and others in the band drinking volumes of neat brandy!” “Steve had such a strong, rich voice as well as being so impressive instrumentally. He was always very nice to me, though I know he could be a nightmare sometimes.” Sam also sang backing vocals on the last recording George Harrison made, his composition ‘Horse to the Water’, which was later released on a Jools Holland album. Although terminally sick by then, George was somehow lifted by the music. “Somewhere upstairs I still have a mini-disc from that recording session with George chattering away. It was not long before George died,” Sam recalls. This was the song that Sam was later to sing at the ‘Concert for George’. Inevitably that performance brought back memories of recording it with George just over a year earlier. There have been numerous major charity and benefit events, too. These included Sam’s participation with Mick Jagger, Eric Clapton, David Bowie, Mark Knopfler, George Michael and Phil Collins in the first Prince’s Youth Trust concert in the mid-1980s. Subsequently Buckingham Palace invited Sam to sing for the Queen at the Golden Jubilee and she has been involved in a variety of other royal occasions over the years, often with Jools Holland. And when Tony Blair was hosting his first G8 summit in Birmingham in May 1998, Sam was again invited to sing with Jools Holland’s big band. The leaders of the world’s eight most powerful countries were present. Afterwards Bill Clinton came over to the band to present Sam with a yellow rose. She accidentally dropped the flower and, to the amusement of others in the band, President Clinton reached down to pick it up and present it a second time. Later tales circulated of the President seeking out Sam’s phone number with a view to inviting her to perform in Washington. The suggestion was that the US Embassy in London vetoed this. Possibly because the Monica Lewinsky scandal was then at its peak. Sam cackles with laughter but firmly denies all knowledge. Diplomatically, she adds, “I was impressed, though, with how charming Bill Clinton and Tony Blair both were. Very pleasant, but it was all a bit of a blur”. Sam pauses a moment as she sips her wine. Then, with a grin, she quickly brings things right down to earth by adding, “Mind you, it was not my best moment personally. I had not long had my second child and I wasn’t keen to perform there. But Jools insisted I do it, overweight, leaky breasts and all! From what you say, it sounds like I got away with it as far as Mr Clinton was concerned.” Sam also featured in Pink Floyd’s ‘The Division Bell’ tour in 1994. It was nine months and covered most of the USA plus twenty-five other countries, playing Earls Court as well as many of the world’s major stadiums. She recalls, “It was hard. I told Dave Gilmour I’d have to take my daughter Vicki with me as she was just six months old.” That must have been difficult? “She was a happy baby. But the point was, Dave had asked me to do a few tours before and I’d always had to turn him down which was an incredibly difficult thing to do. I mean, I turned down Pink Floyd at least three times. Can you imagine? And I love Pink Floyd and like Dave, so I really wanted to do it this time.” The way Sam sings with Pink Floyd is pretty demanding. It must have been hard on her voice, night after night? “It was. I’m amazed I got through it. At that time I’d had no voice tuition whatsoever. Later, after I’d had my second child I became exhausted and lost my voice. I went to have singing tuition in Glasgow and the difference was remarkable. With a few new techniques I could sing anything, twelve nights in a row.” Sam first sang at the Albert Hall when she was just 16. It was a Colombian charity event with David Gilmour. She remembers being petrified and wanting to turn and run off the stage. The performance went well, though. Among Sam’s many Albert Hall appearances since then were a benefit concert for Ronnie Lane where she sang with Paul Weller and other occasions with Deep Purple and Pink Floyd. Plus the annual Jools Holland event when the whole auditorium would be turned into a gigantic pub. Sam suddenly recalls another time with Deep Purple in Hamburg. “We’d all had a few drinks. The Beautiful South were there too. I don’t remember why, but Ian Gillan and I ended up swapping clothes. He looked good in my dress. But you know it never ever smelled quite the same again! I don't want to bore you with too many of those old rock and roll stories though.” We talk more about her work with Jools who has described Sam as “without question, one of the greatest singers I’ve ever worked with”. “Jools and I met on a TV show called ‘The Happening’ in 1989, or was it 1990? We have a close relationship musically, and I do have great respect for what he has achieved. I have learned a lot from him. Working with Jools has enabled me to perform with such an incredible range of talent. Sometimes it is all a rush and there doesn’t seem enough time to prepare as I would like to. But that kind of pressure working with class performers does raise your game. I always enjoyed singing backing vocals too. People used to say to me I shouldn’t do that, shouldn’t lower myself, but I loved doing it. I think you can learn a lot from any performance with others and I never really gave a toss whether people thought I shouldn’t do it! “For me music is a learning process. There’s so much to take in and absorb. And when you meet and work with people like Solomon Burke or Dr John or B.B. King or Robert Plant who have been around a bit and seen so much, you really gain. These people are always learning too - looking around, soaking things up. It is the same with writing songs. There are so many different ways of doing it, new approaches. It is constantly challenging which is one of the things I love about music.” Sam has written with Jools Holland too. “Yes, I enjoyed writing songs with Jools. I was lucky to be able to do that. He is great musically but also a skilled lyricist. Together we have written for Chrissie Hynde, Sam Moore, Nick Cave, Edwin Starr, Dionne Warwick as well as a song for the Dawn French film, ‘Milk’. And once we did a song for Ray Charles, though he died before he was able to make the record. Later Paul Rodgers recorded it. I believe ‘Valentine Moon’, which Jools and I wrote together, was featured on ‘EastEnders’. The Jools album the song appeared on reached the UK Top Ten in 2007.” Outside the music industry many are unaware how prolific and successful Sam Brown has been as a songwriter. She has written with Jon Lord of Deep Purple for his solo albums, and has had scores of her songs recorded. In 2004 Jamelia released her own version of ‘Stop’, which was featured in the second Bridget Jones film. Why don’t more people associate the name Sam Brown with songwriting? “I don’t understand why that has never come across. Maybe it’s because of the way ‘Stop’ was marketed? The platinum hair and so forth. You know, the dumb blonde.” The Monroe-style image? “I was okay with that. But I hated some of the nonsense that went with it. I wasn’t really that comfortable with myself back then. Didn’t feel I looked good at all and hated having my photo taken. I’d never have had the confidence to do what some of the young women do now! But I didn’t mind the Monroe look. In fact a while ago I did a photo-session which included a copy of a Monroe photograph and it was really nice to do.” When did Sam start writing songs? “As far back as I remember music was one of the most important things in my life. I always wanted to write songs. I’d had piano lessons from age five. My teacher was tough. She had a ruler with a brass edge and used to rap my knuckles if I didn’t hold my wrists high enough to allow a mouse to run underneath, as she put it. In truth I didn’t learn much from her. It was my dad who put me on the right track by introducing me to Scott Joplin. If you can master his tunes then it is an introduction to playing stride piano.” “As I had a good ear, it was a short step from playing to composing tunes and adding lyrics. Or sometimes writing the lyrics and putting them to music. I was quite a solitary child, and from the age of 13 I spent a lot of time in my room working on songs. Even then I used to try to avoid the worst clichés of love songs. I was fascinated by words and their meanings and rhythms. At school English was a favourite subject, and even today I enjoy crosswords.” Hundreds of successful compositions later, has Sam’s song-writing method changed? “Not much, really. Though I compose on the ukulele now, rather than the piano. What often works best for me is when I have the basic concept for the lyric and then find a melody, fine-tuning the words to get the best fit. But there’s no hard and fast rules. Sometimes a song just comes, which is what happened with ‘Stop’, as I was driving down the Pacific Highway near Los Angeles one day. I was 19, spotty, wearing dungarees, a beret and Doctor Martens and I loved it there. My record company had asked me to go out to California for a few months to do some writing. I didn’t fit in, though and I didn’t really go down that well. Hardly your typical Southern Californian beach babe, was I? But I did write some good songs and ‘Stop’ was one of them.” The top photograph that accompanies this article was taken by Stephanie Dray, and the middle photograph by Vicki Rose Evans.

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Daughter of the famous Joe Brown, and co-performer with a range of artistes from Jools Holland to Fish, Sam has also reputation in her own right as a more...

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Past Events

Here are the most recent UK tour dates we had listed for Sam Brown. Were you there?

• Nov 12 2022 London, Alexandra Palace Woman To Woman Judie Tzuke, Beverley Craven, Julia Fordham, Rumer, Sam Brown
• Mar 01 2014 Berkhamsted, Civic Centre Ukes For UNICEF Festival The Fog, Nico'o & The Kapiolani Boyz, Sam Brown, Sunnyside Serenaders, Katie's Jumping Fleas…
• Dec 01 2013 Henley-on-Thames, Hotel Du Vin Sam Brown
• Oct 03 2009 Worthing, Pavilion Theatre Joe Brown, Sam Brown, Pete Brown (2)
• Aug 23 2009 Bognor Regis, Regis Centre & Alexandra Theatre Baraka, Mundo Pequeno, Sixfifteen, Beeja, West Sussex Guitar Club, Dub Side Of The Boulder, Sam Brown …
• Nov 21 2008 Wolverhampton Grand Theatre Joe Brown, Sam Brown, Pete Brown (2)
• Oct 23 2008 Basingstoke, Anvil Arts Joe Brown, Sam Brown, Pete Brown
• Oct 19 2008 Chatham, The Central Theatre Joe Brown, Sam Brown, Pete Brown (2)
• Oct 18 2008 Weston-super-Mare, The Playhouse Theatre Joe Brown, Sam Brown, Pete Brown (2)
• Oct 12 2008 Stoke-on-Trent, Victoria Hall Joe Brown, Sam Brown, Pete Brown (2)

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Sam Brown is an English singer-songwriter, composer, multi-instrumentalist, arranger and record producer. Sam Brown was born October 7, 1964 in Stratford, London, and is the daughter of musician Joe Brown and session singer Vicki Brown. Sam Brown began her recording career at the age of 14, singing backing vocals for the Small Faces, as well as Adam & The Ants and Spandau Ballet. Sam had her first hit in 1989 with the song Stop!, along with the similarly titled debut album. Sam Brown retired from singing in 2013 after losing her voice. Sam currently runs the International Ukulele Club of Sonning Common, the North London Ukulele Collective and the People's Ukulele Brigade (PUB).

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After a rousing rendition of “All That You Are” by the GooGoo Dolls on Transformers night, Lovebird was the first to be sent home during a double elimination on The Masked Singer.

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“I had always wanted I knew I wanted to try to show it at some point and when previous offers came in, it just wasn’t the right time in my life,” the former Bachelor told Deadline of competing on the show. “When this season came up, I was like, ‘This is the season I say, yes.’ It’s something that I never thought that I would want to say yes to or be comfortable doing, but it was the experience of a lifetime and something I was so happy and grateful for.”

And since McCarthy seems to have a sixth sense for reality TV stars on The Masked Singer , Underwood wasn’t surprised at all that she was able to guess his identity.

“It was to be expected at that point,” he explained. “I knew she had watched my season. I knew she was familiar with me. She had read my book. So I was like, ‘Oh, she is gonna have this figured out.'”

Audiences who have been following Underwood since his reality TV journey began on The Bachelorette will know that it’s been a rocky path. After vying for Becca Kufrin on Season 8, Underwood quickly went on to Bachelor in Paradise , and then he became The Bachelor for Season 23.

Shortly after his relationship from The Bachelor ended, he faced allegations of stalking that were ultimately dropped. In 2021, Underwood came out as gay, and his coming out journey way documented in the Netflix series Coming Out Colton. He is now married to husband Jordan C. Brown.

He added that while he “was in a position that I should have never been in,” he’s proud of the way things turned out.

“I’m proud of helping contribute to our community and having people feel represented because there’s a lot of people like me that are struggling, that are hiding, that have so much shame around their sexuality, he continued. “I feel like I had to go through what I went through to speak for people within our community that felt similarly to what I was feeling.”

Obviously, Underwood’s Lovebird costume was a nod to his dating show days, but he also thinks it represents the “self acceptance that I’ve experienced in the last few years.”

“Lovebird spoke to me beautifully,” he said.

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The Music Beat: On the Outskirts, But on Grounds: Sam Hunt Takes Charlottesville

April 11, 2024 • By Alice Berry, [email protected] Alice Berry, [email protected]

• Alice Berry , [email protected]

Sam Hunt, known for hits like “Body Like a Back Road” and “House Party,” is an award-winning country music star. (Photo courtesy of Universal Music Group)

Just over a week after his CMT Awards performance in Austin, Texas, country music singer Sam Hunt is performing in Charlottesville.

The five-time Grammy nominee, known for hits like “Body Like a Back Road” and “House Party,” is nearing the end of his “Summer on the Outskirts Tour” with openers Brett Young and Lily Rose. But first, he’ll perform Saturday at the University of Virginia’s John Paul Jones Arena. 

Ahead of the concert, UVA Today talked to Hunt about life on tour, what’s up next for the singer, and more.

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Q. What does an average day on tour look like for you?

A. I try to go see wherever we are visiting. I’ll try to find a good breakfast or brunch spot. Usually there’s a little crew from the band that’ll want to come along. We’ll get some breakfast and maybe we’ll go to the gym. But we’ll look around to see if there’s anything interesting going on, like museums or aquariums or things like that.

Usually there’s a lull between 4 and 6 p.m. where we’re sitting around twiddling our thumbs, but by the time we finish up dinner, it’s time to start getting dressed for the night.

Q. Your new single “Locked Up” takes inspiration from Johnny Cash’s 1968 album “At Folsom Prison.” Who are your other musical influences?

Hunt’s solo career began in 2014, when he signed with Universal Music Group. (Photo courtesy of Universal Music Group)

A. I have a new baby at home, so I have become more sensitive to what I play in the house than I used to be. I play a lot of what I would call “oldies,” one of my go-tos this past month or so has been Otis Redding. I listen to a lot of Frank Sinatra, a lot of bluegrass music. My little girl seems to really like Adele, so I’ve been playing some Adele the last couple of weeks.

Q. Speaking of your family, how do you balance family life while being on tour?

A. I’ve been bringing them with me this tour, which has been great, because I haven’t missed them at home. My little girl is going to be 2 in May, and she’s started to change quite a bit. I was gone the first six months after she was born. 

Bringing them with me really helps, and I don’t have a 9-to-5 to go back to when I get home. It’s not hard to find time to spend with the babies.

Q. What has made the “Summer on the Outskirts” tour special?

A. I have a lot of appreciation for being on road that I don’t know that I necessarily had before the pandemic. It’s really helped me appreciate being able to tour. I’m well into my career now, and to have a lot of folks still come out to the shows after all these years really has really been special. Brett Young and Lily Rose are with us … and it’s felt like a big family road trip.

Q. What’s next for you after you finish this tour?

A. I have the bones of a few songs sitting around, ready to be finished. I really am looking forward to diving off into whatever’s next when we finish this spring tour, and then I’ll pause for the summer tour for about two months, and hopefully pick back up with everything late fall.

( Tickets are still available for Saturday’s show.)

Media Contact

Alice Berry

University News Associate Office of University Communications

[email protected] 434-924-6861

Article Information

April 13, 2024

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Blur Works Out the Kinks in Real Time at Pre-Coachella Warm-Up Show: Concert Review

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The energy picked up considerably for the second half of the set: When the band switched gears into the 1999 favorite “Coffee & TV,” sung by guitarist Graham Coxon, the concert had a rush that carried through to the end. The screams at the first notes of “Parklife” were deafening; Albarn restarted the song, bringing a fan onstage for Phil Daniels’ spoken-word part of the song. (By some accounts, this same fan was charged with that responsibility at Blur’s 2015 Madison Square Garden show — whether or not that’s true, she nailed it.) With the energy at a peak, Albarn went into the crowd for “Girls and Boys,” which led to pogoing (where possible) for “Advert.”

Back onstage, Albarn sat down to recount a rambling anecdote about one of the lawsuits against the band’s biggest hit, 1997’s “Song 2,” concluding by saying, “It’s the only song anyone cares about.” Then he said, “I know a lot of you are quite elderly but let’s jump!” and the band tore into the song. After that surge, the group slowed down with a moving version of “This is a Low,” closing out the main set.

The emotional tone continued when the encore began with “Sing,” which soundtracks some of the most desperate scenes in the film “ Trainspotting .” The semi-rehearsal nature of the gig continued as the group went into “Fool’s Day,” which they’d never played onstage before — they stopped and restarted it, working out the kinks in real time.

The encore moved into its final segment when the singers joined the group for the choral singalongs on “Tender,” and the band closed out the night with a one-two punch of “The Narcissist” and their 1995 hit “The Universal.”

Blur’s performance at Coachella this weekend comes with a certain amount of irony: Despite a couple of big alternative radio hits with “Song 2” and “Girls and Boys,” they never quite cracked America in the 1990s — and yet there they are, nearly 30 years later, near the top of the bill at the country’s biggest music festival.

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