Coldplay - Moon Music
As an album, this initially seemed like it would come together better than Music of the Spheres, but…
Sitting down at the album presentation, waiting to hear Coldplay's new release through cinema speakers, I thought, "What has Coldplay given us musically over the last 10 years?" The idea of world peace, universal unity, and boundless love, all presented in the form of stadium anthems. Then there was Everyday Life, which, while not dramatic, beautifully deviated from these themes and gave a new glimmer of hope that Chris Martin and his band could still push some boundaries.
A Head Full of Dreams → Everyday Life → Music of the Spheres → Moon Music
By this logic, it seemed like it was time for another musical experiment, right? No. It's time for "La-La-La."
Moon Music picks up where we left off: poppy, airy clouds where every problem evaporates into something vague and grand, and every solution boils down to believing, loving, and being happy. On the surface, it seems more coherent than Music of the Spheres, but as you start analyzing what's being offered, a lot of uncomfortable questions emerge.
Moon Music presents itself as something larger than life, with grandiose instrumentals and an attempt to guide the listener toward a state of zen. And amidst all this, Chris Martin once again sings about how it’s bad to be bad and good to be good. He also reminds us that love is infinite and love is everything. The issue is that the lyrics sound like they were written by a 16-year-old who hasn’t yet experienced life, offering simplistic, overly optimistic messages with rhymes like "Pain-Rain." Coming from 47-year-old Chris Martin, songs like "Good Feelings" and "Jupiter" don't just sound juvenile—they sound strangely banal.
With 10 tracks on the record, even the opening and closing tracks feel like an afterthought—both are 90% instrumental, and the closing song repeats the line “Only One World” ad nauseam. Oddly enough, the absence of lyrics works in their favor at times. For example, the track “Moon Music” stands out as one of the best on the album thanks to its lush instrumental.
But that’s not the worst part. When the "La-La-La" chorus appeared on the first track, I was fine. When the "La-La-La" chorus appeared on the second track, I was slightly irritated. When the "La-La-La" chorus appeared on the third track, I was uneasy. When the "La-La-La" chorus appeared on the the fourth track, I wanted to throw something at the screen. When the "La-La-La" chorus appeared on the fifth track, I wanted to throw myself at the screen. Five tracks. Out of ten.
Even the occasionally interesting melodies (on tracks like "Moon Music," "🌈," and "One World") and the deeper, standout track “We Pray” couldn’t save the album from these shallow attempts. It’s clear that Moon Music had potential, but it feels squandered.
It seems Coldplay have become so fixated on space themes that they've forgotten they’re still singing for people on Earth—people who understand English and expect lyrical complexity beyond the level of a 4-year-old.
Stadiums worldwide will sell out for this album too, but let’s be honest—it's unlikely many will come specifically to hear Moon Music. Really good music is often universal for both a demanding critic and an enthusiastic fan who does not even think about why he is so high from the songs like Yellow or Viva La Vida. Chris Martin has promised two more albums before Coldplay calls it quits. Hopefully, those records will carry a message that feels worthy of the most successful band of our century, and not one caught in a midlife crisis.
4.0/10
