‘blur: To The End’: Review

Dir: Toby L. UK. 2024. 104mins

In 1993, British indie band blur were the subject of documentary Starshaped, an anarchic, freewheeling movie which followed the early, hedonistic years of their fame up to their breakthrough second album ’Modern Life Is Rubbish’. Thirty years later, To The End, which documents the 2023 making of the band’s ninth studio album ’The Ballad Of Darren’ and preparation for their first ever Wembley shows, is the perfect companion piece to that early film, capturing the same creative camaraderie, energy and tension — but this time with creaky knees, teetotalism, midlife wisdoms and a huge dollop of nostalgia. And, much like Starshaped, it is a film unapologetically made for fans, who will jump at the chance to head back on the road.

Offers up something new and surprising

blur fans are certainly not in short supply. The band were one of the most successful of the 90s, with hits like ’Parklife’, ‘Country House’, ‘Girls And Boys’ and ’The Universal’ and, despite years between albums and tours, maintain a legion of loyal supporters. To The End should benefit greatly from this built in audience when it opens in UK cinemas on July 19, as should the Wembley concert film when it is released in September; both have also sold internationally. And both should have continuing appeal on streaming and digital, particularly as fans will likely want to add them to their collection. 

It is testament to blur’s longevity that this is the fourth documentary about them, following Starshaped, No Distance Left To Run (which followed them on their 2009 world tour) and New World Towers (about the recording of 2015 album ‘The Magic Whip’ in Hong Kong). Whenever singer-songwriter Damon Albarn, bassist Alex James, guitarist Graham Coxon and drummer Dave Rowntree get together to make music, which they tend to do after years apart, it is an event; one that, here, offers up something new and surprising. Director Toby L has unfettered fly-on-the-wall access to a band that is not just trying to recapture the glory days — although they are honest about their motivations there, time spent together giving them a break from the more mundane domesticity most of them have settled into. There is a palpable sense that, now they are older, they are in a much better position to appreciate and articulate the musical alchemy they share, and just how it has shaped their lives together and apart.

Indeed, as the now 55-year-old Albarn (who has also had a prolific career away from blur, with bands including Gorillaz) comments as he awaits the arrival of fellow band members to his ‘very big house in the country’ — an irony that does not go unnoticed — “time is not infinite.” And with all of the band now well into their 50s, priorities have changed. Gone is the swagger of youth, the feeling of invincibility. As they assemble properly for the first time in almost a decade, vulnerabilities and nerves are exposed. In one of many candid moments, Albarn breaks down as he listens to lyrics he has written about loss and grief. (His split with longtime partner Suzi Winstanley in 2023 is clearly an influence, but something on which the film, rightly, does not dwell.) Later, a visit to their old school in Colchester brings both humour and humility, as Albarn reminisces about school gigs, pays tribute to his roots and offers to kit out the music room for a new generation of kids.

It’s a far cry from the brashness and ego that used to accompany the foursome, then in their 20s, during the height of their 90s fame, snapshots of which are captured here in archive footage. But while the band do speak of their memories of this time, it is not all through rose-tinted glasses. James, for example, is concerned about how he will explain his much-documented hard-drinking days to his kids — although that doesn’t stop him overdoing it when back on the road. Old habits die hard (although Coxon and Rowntree are now teetotallers). And, alongside killer hangovers, the road to Wembley is peppered with new obstacles; aching backs, bad knees, waning energy, the ravages of middle-age.

And yet, whenever blur play together, either on stage or in the studio, these concerns all fall away. It’s a joy to see them performing energetic old hits like ’Popscene’ and ’Song 2’, and a privilege to watch them create their more introspective new material – driven by Albarn’s incredible songwriting ability.  And it is likely Albarn who continues to drive the band to make music, his insatiable, overwhelming creative impulse the clarion call pulling this foursome back together, the experience a cathartic one for them all.

“There is something very healing about creating a beautiful noise,” observes James. And when To The End reaches its euphoric climax, with the band performing in front of legions of fans of all ages at Wembley — actor Phil Daniels front and centre for a joyful rendition of ’Parklife’, a goosebumps-inducing performance of ‘Tender’ with the London Community Gospel Choir — you can only hope that there is more beautiful noise left in them yet.