Radiohead, those enigmatic heralds of an impending doomsday, have made a thunderous comeback after nearly a decade without a fresh album and over seven years since their last live performance. Imagine stepping into a world where their haunting tunes about pandemics, wars, and crumbling societies feel eerily prophetic in today's reality – it's a feeling that's only intensified with time.
But here's where it gets controversial: Has Thom Yorke, the band's visionary frontman, been overhyped as a modern-day oracle, or is his foresight genuinely genius? As Radiohead's legend has ballooned during their hiatus, opinions on Yorke's talent (debated more for his political views than his musical prowess) remain divided. And this is the part most people miss – Yorke isn't the sole star; the group's collective brilliance shines through, especially with recent projects like his collaborations with Jonny Greenwood in their more experimental trio, The Smile. Fans have waited what feels like an eternity to witness the full quintet reunited.
Now, out of the blue, without fanfare, new music, or clear motive, they've launched a series of intimate residencies across select European cities, playing in a circular setup that fosters an intimate, all-around connection. The stage features a delicate projection screen that initially appears like a barrier, but it turns out to be superfluous – this isn't a tentative return; it's a powerful resurgence.
Kicking off with 'Let Down' from their iconic 'OK Computer' album, Yorke croons about shattered shells and flowing juices, a perfect opener. This track, a beloved yet obscure gem for longtime fans, gained viral fame among younger audiences on TikTok, becoming Radiohead's closest brush with a mainstream hit in this millennium. It's a beautifully airy song, laced with Yorke's self-deprecating humor about his penchant for overly sentimental lyrics – a style as underrated as some of Kafka's witty insights. This tune passes a torch of cautious optimism from Generation X to Gen Z, blending hope with skepticism in a way that's both uplifting and introspective.
On this night, the shimmering vocals and Jonny Greenwood's unconventional guitar lines (often in a different rhythm than the rest of the band, creating an intriguing tension) gain explosive energy from a dominating rhythm section. This dynamic sets the evening's vibe, even as the higher frequencies sometimes get muffled in the vast arena, like echoes in a cavern. Drummer Phil Selway, additional percussionist Clive Deamer, and Jonny's bassist brother Colin deliver a forceful display on mid-to-late career hits like '2+2=5,' 'Bloom,' and 'Ful Stop,' proving their mastery.
Jonny Greenwood has long been Radiohead's hidden powerhouse – polite and unassuming offstage, his bass playing swings from tender, soulful melodies to raw, intense edges. His basslines have guided listeners through the band's most daunting studio creations, and selections from 'Kid A,' such as 'Everything In Its Right Place' and 'Idioteque,' showcase a 25-year evolution from frigid, experimental shocks to energetic, crowd-pleasing anthems that get everyone moving.
By the time they reach '15 Step,' even the highest seats in the venue are swaying to those challenging drum beats, while Yorke warns that 'it' – perhaps aging or mortality – awaits us all. Now approaching 60, Yorke remains remarkably agile, his gray beard adding a seasoned sailor vibe as he dances playfully to 'The National Anthem' and its unbelievably catchy bassline, penned when he was just a teenager.
Yorke has often glanced at aging rock icons like Mick Jagger and listened for signs of legacy bands repeating themselves. Yet, Radiohead defies that stereotype here, brimming with fresh vitality. Their devoted followers can be particularly picky, and some might gripe about the scarcity of tracks from albums like 'A Moon Shaped Pool' or 'The Bends.' Still, the early favorite 'Fake Plastic Trees' soars with explosive force on that signature line, far surpassing the studio recording's impact.
Live shows have historically been Radiohead's escape from the studio's intense creative pressures, which once nearly unraveled them. Tonight's energy suggests something new, but the pure relief and delight are palpable for anyone who's cherished this band – it's not merely entertaining; it's euphoric. Yorke keeps his remarks brief, offering just a simple 'gracias.' This might frustrate those who wish he'd spoken more boldly and loudly in recent times, perhaps on global issues like their decision not to perform in Israel. Conversely, others fondly recall the anxious young man terrified by the rapid pace of technological and societal change in the early internet era, and they'd still choose him to voice our concerns in this era of dizzying acceleration.
The setlist encapsulated a journey through their catalog, blending nostalgia with electrifying reinterpretations.
Let Down
2 + 2 = 5
Sit Down. Stand Up
Bloom
Lucky
Ful Stop
The Gloaming
Myxomatosis
No Surprises
Videotape
Weird Fishes/Arpeggi
Everything in Its Right Place
15 Step
The National Anthem
Daydreaming
A Wolf at the Door
Bodysnatchers
Idioteque
Encore
Fake Plastic Trees
Subterranean Homesick Alien
Paranoid Android
How to Disappear Completely
You and Whose Army?
There There
Karma Police
What do you think – has Radiohead's apocalyptic imagery lost its edge in our unpredictable times, or does it resonate more than ever? Do you agree Yorke should have been more vocal on social issues, or is his music enough of a statement? Share your thoughts in the comments – I'd love to hear your take!
