Review: Coldplay coolly sets the tone

Kirk Baird

Monday, Sept. 9, 2002 | 8:23 a.m.

If there has been one consistent criticism of Coldplay, it's that the British pop band is too moody for its own good. Instead, the group should aspire to craft more upbeat, uptempo songs, which translate better in concert settings.

After Saturday's sold-out show at The Joint at the Hard Rock Hotel, however, the band made a strong musical statement to those critics: Sullen rocks.

Playing to a mostly twentysomething audience, the quartet proved that its dense, atmospheric music and pained lyrics translate very well in concert.

There were no awkward moments, no ill-timed songs. Just near-perfect pacing by the Coldplay as the band deftly worked through its two-album catalog, mixing upbeat and plaintive tunes with precision.

Of course, a potent mixture of strong guitar work by Jon Buckland, a revved-up performance by frontman Chris Martin and solid rhythm work by drummer Will Champion and bassist Guy Berryman certainly helped the band's case.

Coldplay opened the night with a rousing version of "Politik," the first track from the group's latest album, "A Rush of Blood to the Head."

From the moment Martin took center stage, behind a piano (where he spent much of the evening), the vocalist led the charge.

Plagued by vocal problems during the band's first attempt at a U.S. tour in 2000, Martin (whose upper-range vocal work is similar to Dave Matthews')was in fine voice.

And it showed three songs into the set, during a dreamy take on "Spies" off the band's debut disc, "Parachutes."

The singer's detached vocals, along with a small wall of fog and ambient lighting effects, created the perfect blend of mood and mystery for the song, one of many standouts during the concert.

"Spies" also benefited from nimble David Gilmour-esque guitar work by Buckland.

Unfortunately, the guitarist also seemed to cut himself off midsolo during the song, as was the case for many of the band's numbers. Considering Martin referred to Buckland as the best guitarist in the world during the show, some well-placed, lengthier ax work by the guitarist would have been welcome.

Still, Buckland's playing was effective, as his emotive style colored Coldplay's sullen songs in dreamy blues and upbeat pop in soft yellows.

In fact, for the group's breakout hit, "Yellow," the band and the audience were bathed in yellow light from behind the stage.

A simple love note in the best Lennon-McCartney tradition, "Yellow" is a rare gem of a pop song that seems to get better with each listening.

And after hearing and seeing the extra musical muscle applied to the tune in concert by the band, it is obvious Coldplay hasn't grown tired of "Yellow" either, the way so many artists quickly weary of their hits.

The band wrapped up its 80-minute set with two songs from "A Rush of Blood" -- including a sumptuous take on "The Scientist" -- before taking a brief leave.

For the requisite encore, Coldplay launched into driving versions of "Clocks" and "In My Place," winding down the evening with the elegantly somber "Life Is for Living."

Once again, the band expertly switched tempos, moving from spirited to saturnine with little -- if any -- time between songs.

As for the "overly moody" criticism, perhaps Coldplay made a conscious effort to be more lively for its concert.

Or perhaps not.

In either case, rarely has dour sounded so good -- or upbeat.