Coldplay isn't a band, a sound, or a sought-after export. They are an issue, a political party. The New York Times published an article making the "Case Against Coldplay." One vote for Coldplay and you may be the deciding vote against an indie rock oligarchy. If you kind of like them, sometimes, well you might as well just be voting for Ralph Nader. So a band of such polarizing effect, may inspire mass hysteria upon their arrival in Oklahoma City right?

No. Despite the magnifying glass recently brought upon the band that noticed the stars were really yellow, Coldplay managed to keep things quiet.

First off is Coldplay's opening act choice. With Rilo Kiley and Black Mountain recently opening Coldplay shows, Coldplay continues to use their supporting slot to endorse bands with a previously strong following. This time was no different as Fiona Apple graciously belted out sultry piano confessionals from "Extraordinary Machine."

No temper tantrums escaped Fiona's interpretive dance sessions, much to the relief of the restless audience. All sat, as only one row of women in the floor section felt Fiona's aching pain. "Criminal" incited spasms in the black-clad Apple.

Listening to the throaty soul of Apple is always akin to listening to that girlfriend you dumped and left in the basement come back and recite all of the blues she learned while in the basement. If only more could feel her pain. The set was short and rewarding.

Coldplay was best when they quietly set-up shop on the front aisle of the stage after the yellow confetti balloons (nods to the Flaming Lips) had burst. As drummer Will Champion took the keys, singer Chris Martin picked a burn washed acoustic and all members huddled together for a string of songs anchored by "Til Kingdom Come."

This was Coldplay forgetting about the awe-inducing light show that invades their shows, and dedicating "Kingdom" to Mr. Cash--one of the four great American vocalists, the others being Dylan, Elvis, and Wayne.

The nose bleed seats had a few empty slots but none below. Screaming twenty-somethings and forty-somethings sang the songs with purpose; a few rock and roll hand signs even accompanied the band.

The best image was seeing silhouettes lit against a backdrop displaying a countdown. The light show, as with all Coldplay shows, was an always impressive onslaught of mood beams of light and just enough white to show silhouettes of the band on the large screen, as if there is always something bigger going on than four guys with instruments.

Coldplay offered a generous set. It wasn't a feast though because they didn't include the two best songs in their catalogue, "Green Eyes" and "A Rush of Blood to the Head." In fact it only distinguished itself from the Austin City Limits set by two songs.

For "In My Place" Martin, accompanied by two security guards, sang in the cheap seats and "Fix You" featured a crowd chorus and a swinging light bulb. "Swallowed in the Sea" was reserved on the encore. Yet all of the earnest love pleas in the song were undercut by the fact that Martin's handwriting was artfully projected onto the big screen--as if the Ford Center was treated to the chicken scratch of genius for the first time.

The bigger Coldplay gets the more they will have to deal with these kind of pretentious trap doors. For instance, when Martin told the audience Wayne Coyne had driven him around Oklahoma City earlier in the day he said, "Even though we are international super stars, we are still fans of The Flaming Lips."

Gee, thanks.

Instead of recounting a car ride with Oklahoma's favorite son, Martin could have made something big happen. Coyne was roaming backstage. The Lips and the biggest band in the UK could've united in Oklahoma. Martin's slightly tweaked closing to the heartbreaking "The Scientist" could've segued into a jubilant, collaborative "Yoshimi Vs. The Pink Robots" but an event of that magnitude was just not in the cards. People bought floor tickets for a price as steep as $300 and they didn't see the essence of psychedelic, indie rock Oklahoma combine with the enormous Brit-Pop enterprise Oklahoma is an important place for bands to be, but celebrations like this must happen, and passing bands can always give more.

To close, Coldplay's fans are very good looking. Judging a band by its fans is cheap and shallow but it is absolutely the case with Coldplay. Part of the fun of a Coldplay concert is still watching the pink shirted fellow who turns down his blonde's pursuing lips, so he can eye Martin, tear up a tad, and sing at the speed of sound. It happened on row 12 or so Monday night. These guys in the pink shirts are why critics don't really like the band. What critics forget, though, is that for three records Martin has condensed Radiohead into pop songs: an easily accessible structure that hinges on pretty vocals, chiming guitar, charming piano leads and boring drum play.

But Monday's display proved that Coldplay has it down tight, with a few signs of growing. Champion's drum play continues to improve. An extended clincher to "Clocks" showed Champion's intensity exceeding that of the charismatic front man's, and Martin only looked like the afro haired fool from The Grammy's half the time--when reaching into the air and miming a bird. "White Shadows" ended with Martin and guitarist Johnny Buckland sprawled supine, staring at the ceiling.

Last night, Coldplay only kind of wanted to be U2. The members of Coldplay will have to learn from the discipline that led them to huddle on the front of the stage for three songs and also allow themselves the vision to take full advantage of the arenas they fill. A duet with a Lip member may have been perfect aural equity for the polarizing Brits.

For more pictures of this event, click here.
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