"Gorillaz are 25. In 2000, this cartoon-fronted project seemed like something fun for Damon Albarn to do between Blur albums, hiding behind Jamie Hewlett's comic-book animations, but they've overtaken Blur almost everywhere but Britain. The number of children in the audience testifies to Gorillaz's powers of self-rejuvenation an ever-changing vehicle for Albarn's ceaseless curiosity. Gorillaz are marking the occasion with an immersive exhibition, House of Kong, and four era-specific shows."
"This second night revives 2005's Demon Days. Co-produced by Danger Mouse, it remains the most satisfying expression of the Gorillaz concept: focused in both its themes (innocence and violence) and personnel (rappers and the rap-adjacent). Dressed like a hip vicar, Albarn serves double duty as a frontman and a conscientious host, although the original cast of vocalists is inevitably depleted."
"Beneath Hewlett's helter-skelter videos, the band, choir and string quartet give the songs new mass and drama. O Green World builds to a startling frenzy and the climactic title track blossoms gloriously. As stained-glass windows fill the screen and the London Community Gospel Choir chant the cathartic refrain, To the sun, Albarn's vicar gear suddenly makes sense. The encore of three contemporary B-sides, while admirably disciplined, is somewhat anticlimactic."
Gorillaz celebrate 25 years with an immersive exhibition, House of Kong, and four era-specific shows. The second night revives 2005's Demon Days, co-produced by Danger Mouse, emphasizing themes of innocence and violence with a roster of rappers and rap-adjacent collaborators. Damon Albarn performs as frontman and conscientious host, styled as a hip vicar. Several original vocalists are absent or appear only onscreen, while replacements and stalwarts like Bootie Brown and De La Soul perform live. The band, London Community Gospel Choir and a string quartet deepen the arrangements, elevating tracks such as O Green World and the climactic title track. The disciplined encore of contemporary B-sides ends more melancholically than triumphantly.
Read at www.theguardian.com
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