Written by: Kiera Roedel | Copy Editor
Content warning: this article contains references to police violence, war and suicide.
Nov. 22 was the fifth birthday of Coldplay’s 2019 album “Everyday Life.” The project sticks with Coldplay’s well-established pop-rock sound, but mixes in influences like classical, afrobeat and jazz, making it one of the band’s most experimental releases.
Lyrically, “Everyday Life” focuses on unity between people, regardless of ethnic or national barriers. This is perhaps best showcased by the fact that the only-ever live performance of the full tracklist was streamed globally from the Amman Citadel in Jordan, though Coldplay themselves are British.
The album’s 16 tracks, split into “sunrise” and “sunset” halves, have proved divisive among fans. Many proclaim certain songs as some of the band’s best ever, while dismissing others as pointless filler. So, five years on, how does “Everyday Life” stack up?
“Sunrise” — “Everyday Life’s” opener is a short instrumental track driven by calm, spare string music. It is compositionally simple and its lack of lyrics really count against it for me — not a favorite.
“Church” — Considered by many to be the true opening track, “Church” is one of the strongest on the album. Its almost four minutes are driven by a strong percussion line while lead singer Chris Martin weaves a love story that compares his significant other to a divine figure. Later in the song, Arabic vocals by guest Norah Shaqur bring the entire song together, and Martin’s sing-rapped couplet at the end over them is nothing short of incredible.
“Trouble in Town” — The first appearance of this album’s oft-discussed political themes. “Trouble in Town” condemns police violence with floaty yet strong piano-centric instrumentals and a profanity-laden recording depicting verbal abuse while a police officer detains a suspect. Not for everyone, but fantastic for those unfazed by its unique characteristics.
“BrokEn” — A divisive song due to its style — an almost a capella gospel track — and a strange choice to follow up “Trouble in Town.” Its strong religious themes and direct references to God would not be out of place if sung by a church choir. I find it catchy.
“Daddy” — This song hits some harder than others. It is sung from the perspective of a child with an absent father figure, wondering where he has been and whether he will ever return. It is slow and ethereal throughout, opening with heartbeat sound effects before a somber piano melody begins a few seconds in. The emotion in this one is bare and painful, definitely a highlight.
“WOTW / POTP” — The sound of this demo track is defined by an acoustic guitar, quiet singing and birds chirping in the background. To me, it has almost no staying power and may as well have not been included.
“Arabesque” — The title here references a style of visual art involving intricate repeating patterns covering large surfaces. Similarly “Arabesque,” one of the album’s singles, discusses unifying the people, proclaiming that we “share the same blood.” Its aggressive, percussive rhythm thumps along like a freight train, and the song is without a doubt in the top 3 best on the album.
“When I Need a Friend” — Another short, less-than-impressive track. Its slow, formless, layered vocals recall holiday carols, or more church-choir music, with a Spanish spoken-word segment inserted awkwardly at the end.
“Guns” — Aggressive and biting, “Guns” begins the “sunset” segment of the album and is perhaps the antithesis to the prior track. It is extremely political, referencing climate change, oppression of the working class, violent revolutions and the military-industrial complex. I love it for that.
“Orphans” — The other single from “Everyday Life,” “Orphans” was a breakout hit and a song that many have likely heard already. It tells the struggles of a girl and her father who become refugees during the oppressive Syrian Civil War. Thematically and musically a masterpiece, this might be the objective best on the record.
“Èkó” — Calm and relaxed, the quaint and hopeful “Èkó” shares the name of a town in southwest Nigeria. Honestly, it serves pretty well as a comfort song, but nothing special.
“Cry Cry Cry” — Angel Moon, Coldplay’s alien vocalist who is really just a digital effect, sings along with Chris Martin throughout this deceptively optimistic song. It might have been good if its themes were better developed and it had more than a verse and a half of actual lyrics.
“Old Friends” — Another slow, calm song with simple lyrics. It describes a childhood friend of Martin’s who saved him from being hit by a car when they were riding bikes as kids. While the theme is heartfelt, the song isn’t very engaging.
“بنی آدم” — The Arabic title of this song is taken from a Persian poem, pronounced “Bani Adam.” The majority of its lyrics are a verse from the poem, spoken softly in Arabic. A great idea, but it has almost two minutes of piano solo and was likely better suited to being a 90-second interlude rather than the over-3-minute full feature that “بنی آدم” purports to be.
“Champion of the World” — To be blunt, this is far and away my favorite song on the album. Its lyrics begin with short anecdotes of the failures of the lead singer, going so far as to specifically reference suicide and gravestones. As the music slowly builds, the lyrics pull away from the depression, asserting that whatever happens, we are still here, and that is a success in itself. The song climaxes when Martin and drummer Will Champion sing in duet that “giving up won’t work / Now I’m riding on my rocket ship / And I’m champion of the world.” “Champion of the World” has the overwhelmingly positive theme and grandiose musical style that are hallmarks of recent Coldplay, and to me, it’s probably their single greatest song in the past decade at least.
“Everyday Life” — The final song, bringing back earlier themes of the album like the similarities between and power vested within the people of the world. Musically spare but proud, it uses the same chord progression as the earlier “Church,” which helps tie the album together. While a little unimpressive in the shadow of the previous song, “Everyday Life” is still an excellent closing track.
Overall, “Everyday Life’s” occasional extremely strong tracks have their impact lessened somewhat by slow and underdeveloped songs that hold almost no significance to the overall styling of the record. Still, those strong tracks stand as some of the best in the history of Coldplay, and are each excellent on their own. Plus, “Everyday Life’s” aesthetic is confident, with unique lyrical themes and experimental music styles strongly contributing to the album’s identity. Lyrically and musically, Everyday Life shows what Coldplay can be when at its best, even if it is interspersed with a few less-than-amazing songs.
8/10.
Contact the author at howlcopyeditor@mail.wou.edu
