Blur: Live at Wembley Stadium

Blur’s latest live album is next up for review, recorded at their second Wembley show in 2023. This record serves as a playback of Blur's biggest concert to date. From hit singles to future classics. 

Side One opens with 'St Charles Square', a new track from 'The Ballad of Darren', a rather raucous opening, complete with a Britpop-esque Albarn "Oi!". It's a bold move to kick off the biggest gigs of your career with your latest single, but that's typical Blur fashion. The band then takes us back to 1991 with one of their earliest singles, 'There’s No Other Way'. It highlights the eclectic range of songs Blur can pull from; it might be a baggy classic, but it fits right in with the grandeur of Wembley. Next is 'Popscene', the song that revived Blur’s career, delivered here at a breathtaking pace even thirty years later. It's a rapturous singalong and sees the energy levels soar. 'Tracy Jacks' closes out Side One, with Albarn once again bringing the character to life, this time in front of a sold out Wembley crowd. Coxon’s guitar sounds as good as it ever has, while James and Rowntree keep everything ticking along as effortlessly as ever. This is Blur at their very best.

Side Two opens with the mammoth 'Beetlebum', the track that marked a turning point in Blur’s career. Played just five songs into the set, it’s one of the album's true highlights a reminder that their singles still stand strong after all these years. It's a genuinely special moment. 'Trimm Trabb', a gem from '13', follows.  A deep cut for the hardcore Blur fanatics. This isn’t just a greatest hits set; there are nods to the loyal fans throughout. 'Villa Rosie' from 'Modern Life is Rubbish' and 'Stereotypes' from 'The Great Escape' also make the cut. Before the latter, Albarn treats the crowd to a history lesson about how Wembley got its name. One of many candid moments scattered throughout the album. Nothing is polished or cut out; it’s raw, real, and beautiful.

Side Three features one of the strongest runs of songs on the album. 'Out of Time' opens the side, a track that always carries an extra special feeling when played live. Originally recorded for 'Think Tank' after Coxon had left the band, hearing him perform the guitar part live is a real moment for Blur fans. His Spanish guitar work here is exquisite. Coxon then takes over vocal duties for the next track, 'Coffee & TV'  another Blur classic that sparks one of the biggest singalongs of the night. And with this being a live album, you really hear it: 90,000 Blur fans from all over the world singing like their lives depend on it. 'Under the Westway', a late-era single, follows. A love letter to London that grows increasingly emotional towards its conclusion. The side closes with a contemplative performance of 'End of the Century' from 1994. Sung now by a man thirty years older, the song still feels as relevant and moving as ever. These Blur tracks have truly stood the test of time.

Side Four bursts open with the raucous 'Sunday Sunday'. It simply had to be played, it would have felt wrong not to at the biggest shows of their career, especially with the concert falling on a Sunday. Next up is the band's first number one single, 'Country House'. Despite previous attempts to distance themselves from it, Blur fully embrace the song that famously won the Battle of Britpop. It even features a brief cameo from Mr. Phil Daniels, who steps into a fuller role on the next track. 'Parklife' sees Daniels and Albarn sharing a brilliant chemistry on stage, creating one of the night’s standout moments. With a nod to 'Quadrophenia' and the line "What’s normal anyway?", it's a surprisingly emotional performance. 'To the End' brings Side Four to a close, with Albarn encouraging the audience to sing along with the French parts. It slows the pace down beautifully. One of Blur’s forgotten gems, 'To the End' shines here a reminder that it's one of the best tracks on 'Parklife'. This live version makes that even more clear: it’s simply beautiful.

Side Five opens with 'Oily Water', an album track from 'Modern Life is Rubbish' another one for the fans. Coxon takes centre stage again, playing the riff as if it were 1993 rather than 2023. This song stands apart from much of the rest of the album, offering a darker, more intense atmosphere that sets the tone perfectly for the next track. 'Advert' follows, just as lively and spiky as it was in the '90s. It's raw, punk-like energy shows the band getting the balance of sounds just right. Everything fits together naturally; nothing feels polished or artificial. You can hear that it’s a true live recording  it feels as close to being there as you can get. 'Song 2' is the penultimate track on Side Five, delivered fast and frenetic, prompting the crowd to pogo under the Wembley arches. The iconic woo-hoos echo across London. One of my personal favourite Blur songs closes Side Five: 'This Is a Low', written in 1994 about the shipping forecast. It’s the perfect way to end the main set. Originally written during a period of homesickness and uncertainty, now performed thirty years later to the biggest crowd of their career, it becomes a shared emotional high point. Each band member has their crowning moment, and so does the audience, belting out the chorus with everything they have. The perfect end to the main set and the perfect end to Side Five.

Side Six is the album’s final side and captures the encore, this time featuring five songs instead of four. 'Girls & Boys' kicks it off with pure Britpop bombast. It still sounds fresh and contemporary in 2024 — one of Blur’s sharpest pieces of social commentary, featuring some of Albarn’s best-ever lyrics. 'For Tomorrow' follows, another ode to London. Led by acoustic guitar, it puts Albarn’s observational lyrics front and centre. Another track from 'Modern Life is Rubbish', it’s clear that Blur’s 2023 tour fully embraced the album that helped shape the band’s identity.

'Tender' comes next, a truly beautiful live rendition featuring the London Community Gospel Choir. Probably Blur’s most autobiographical song, it's powerful to hear it delivered with such communal energy. 'The Narcissist', the second song from 'The Ballad of Darren', slots seamlessly into the encore. Despite being a newer track, it feels completely at home among the classics. It’s one of my favourite things Blur have ever recorded an emotional moment with Albarn and Coxon sharing vocals to stunning effect. One truly amazing song, one truly unforgettable moment.

All good things must come to an end, and Blur close the night in fitting fashion with 'The Universal'. Originally written by Albarn in 1994 after his experience with Prozac, the song imagines a dystopian future shaped by "special pills". Albarn could never have predicted what the world would look like in 2023. Yet, amidst its eerie prophecy, 'The Universal' offers a hopeful chorus, and the Wembley faithful sing it back with full voice. It’s a deeply moving finale to one of the best gigs the band has ever played.

This record is a must have for Blur fans. It had everything that makes Blur great. Great songs, the hits, the new stuff, the hidden gems. It shows the band's camaraderie on stage, and the connection they have with the crowd. It also reinforces them as one of the best British bands ever. 

Thank you for reading x