The band Massive Attack is over

With Massive Attack, world events roar across the stage

The trip-hop luminaries from Bristol plunged the market square of Lörrach into a sea of ​​data with their stage show. Massive Attack didn’t skimp on political allusions.

Flags and party logos are hailing: they flash like stroboscopes in the background as projections. The jam-packed Lörrach marketplace is covered with a torrential flood of data right from the start. The audience is not only shaken visually: At the same time, the band hammers down a massive “United Snakes”.

The daily flood of text on the Internet runs as a concept through the evening. The hail of information, some of it violent, others half-baked or vague, intensifies when Massive Attack appears at the “Voices” festival. Sometimes the effects seem a bit overloaded, but the references often hit the nerve of the times. Whether pictures of refugees, names of destroyed cultural monuments such as currently in Syria or an endless salad of numbers - everything flashes by hinting at.

The angel comes despite crutches

The two heads behind Massive Attack, Robert “3D” Del Naja and Grant “Daddy G” Marshall, are mostly in the background of the stage. The singer Horace Andy has plenty of room for this, who takes the stage before the two masterminds on the second song “Hymn of the Big Wheel”. The Jamaican stands behind the microphone with crutches.

The distinctive voice that has been polishing the sound from Bristol since the nineties almost failed to appear: at the beginning of the month

Massive Attack even had to cancel a concert because Horace Andy's health was bad. But now he's back on his feet. Even though he is not very good on his feet, that doesn’t detract from his stage presence: Especially the gloomy and energetic «Angel» earns enthusiastic applause.

A requiem for the UK and the EU

The trip-hop co-founders concentrate entirely on the image and sound concept, there is hardly any talk. But Robert Del Naja cannot resist a single comment: "The next song is a requiem." It means «Eurochild». The track from the album "Protection" is now over two decades old. After the Brexit, the title now has a new connotation, so that the band pulls it out of the archive again. Matching words and sentences flicker here too - this time in German: "Unity", "Solidarity", "No visa for Ibiza".

All the clichés from politics, the press and social media pass. After the thunderstorm of empty words, at the end of the song there is an optimistic statement about Europe's crisis: "We'll get through this together."

The psychedelic “Inertia Creeps” with the chanting of Robert Del Naja is also accompanied by the topicality: In the background one headline chases the other: the attempted coup against Erdogan, the attacks in Nice and Würzburg, mixed with banal things like Pokémon Go and celebrity gossip to the hairstyle of Jennifer Lopez.

"We can get through this together" as the motto of the evening

While the classics of the Bristol sound are eagerly awaited, the few newer pieces are going under a bit - for example “Ritual Spirit” from this year's EP with the falsetto by the London singer Azekel. Cheers from the market square, however, can be heard again at the end. Deborah Miller's last voice comes into play. In doing so, some memories of the early 90s will be awakened: In “Safe from Harm” from the first and style-defining album “Blue Lines” Miller takes over the vocal part of the then singer Shara Nelson.

Even in the only encore "Unfinished Sympathy" she grabs the audience with her voice. With the one sentence that the British liked, the band leaves the stage: “We'll get through this together” is left standing as a projection in the room for a while.

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