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#Parklife songs series
It is now curated by a number of the UK's foremost dance brands, including fellow Manchester event series The Warehouse Project and has gone onto welcome some of music's biggest artists over the past decade, such as Liam Gallagher, Foals, Disclosure, The Chemical Brothers and The 1975.Īnd once the main festival has finished, festival-goers have historically had a number of after parties to choose from – named Afterlife – which have featured a selection of artists that performed during the main festival (as well as others) in venues across Manchester. Having started out back in 2010 as the curiously named Mad Ferret Festival in Rusholme's Platt Fields Park, the festival rebranded to Parklife and moved to its current home in Heaton Park in 2012. Now a UK festival favourite, Parklife will once again curate a top-tier lineup across eight stages, including its prestigious main stage which will welcome headliners 50 Cent, Tyler, the Creator, and Megan Thee Stallion.īut beyond the main stage is where Parklife really comes alive, with seven stages consistently showcasing house, techno, garage, drum and bass galore, seeing the likes of Chase & Status, Bicep, Four Tet, Peggy Gou, Camelphat, Carl Cox and more perform across 11-12th June 2022. For all that the Blur of this era would be attacked for being too arch and unemotional, Parklife is as warm and inviting as anything Oasis (or any other Britpop band) released during the same period.Parklife 2022 sees the Manchester festival return to the city's Heaton Park in summer 2022 or a weekend alongside some of dance and alternative music's foremost names.
#Parklife songs how to
“Jubilee” is an outsider hated by all, who would love to be accepted but “no-one told him” how to do it, or where to go. “We all say, don’t want to be alone” Albarn sings in “End of A Century.” In “This Is A Low,” he sings of melancholy as something that can bring comfort: “It won’t hurt you/ When you’re alone, it will be there with you.” Even the album’s “comedy” songs show empathy towards their target characters. (A line from critic David Quantick about the Beatles recording Revolver and realizing “we are young and we can do anything” - that combination of talent and the invincibility of youth - comes to mind.) But Parklife is also a kind one, as well. As Oasis’ stock rose, so did the belief amongst listeners that sincerity was synonymous with quality, and Blur’s Albarn found himself under fire from fans and critics for not singing about “himself.” As the larger genre limped towards irrelevance over the next couple of years - arguably culminating in Be Here Now, Oasis’ unexciting third album - the whole thing was declared little more than an exercise in 1960s nostalgia gone wrong by critics embarrassed by their wholesale embrace of it years earlier.įor all that Parklife is the work of a young band - “the mind gets dirty as it gets closer to thirty,” one line goes, with the big three-oh still seeming like a distant destination - it’s a remarkably confident, even cocky album. Consequently, Blur was derided as pretentious, insincere and overly intellectual. Oasis had a proletarian appeal, eschewing the observational, dryly comedic lyrics that made Blur famous for passionate exhortations for listeners to “roll with it.” They reminded the public that they were “free to do whatever like if it’s wrong or right it’s alright,” never mind the lack of clarity on what “it” actually was. By mid-1995, with new albums due from both bands, there was an apparent feud between Blur and Oasis that divided fans. Britpop fractured there was no way that something that big couldn’t.