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| | The New Yorker: The Critics: Musical Events |
 | | Albarn, who writes the band’s songs and plays almost all the instruments, could now make music with whomever he pleased, and without the problems that plague live groups—members who show up hung over at rehearsals or photo shoots, or who simply quit. |
 | | Albarn’s triumph is in preventing his friendly tootling from becoming cloying; he succeeds no doubt partly because he co-produced the Gorillaz albums with hip-hop artists, the first one with Dan (The Automator) Nakamura, the second with Brian Burton, a.k.a. |
 | | Albarn didn’t appear at the front of the stage until the end of the show, when he joined a Chinese zither player, Zeng Zhen, to perform a delicate song called “Hong Kong.” Albarn, dressed in a fl short-sleeved Fred Perry shirt and baggy jeans, looked more like a stagehand than the evening’s mastermind. |
| www.newyorker.com /critics/music/articles/051128crmu_music (991 words) |
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