内容摘要：“We still have to see what happens next and how the new government plans to tackle these issues,” she said.

“We still have to see what happens next and how the new government plans to tackle these issues,” she said.

band emerged in the late-'70s in Sheffield, England, artistic outsiders with a penchant for the glam, grim, and in the case of Cocker, the gawky. Fame alluded them until the mid-'90s, and then it rushed in with the trend ofTheir songs varied wildly from their contemporaries, like the recently reunited Blur and soon-to-be back together

synth-pop arrived with humor, ambiguity and intellect — songs about sex and class consciousness that manage to be groovy, glib, awkward and amorous all at once.Then, and in the decades since, Pulp has inspired devotion from loyal fans across generations. They’ve charmed those lucky enough to catch band members in their heyday before a kind of careerism led to a hiatus in 2002 — and those who saw them for the first time during reunion tours in 2011 and 2022. With all that reputation on the line, it’s reassuring that the band has decided to give its audience “More,” their first new album in over two decades.There were a few catalysts for “More.” The first: “We could get along with each other still,” jokes drummer Nick Banks. “It wasn’t too painful.” The second: The band worked a new song into their recent reunion show run — “The Hymn of the North,” originally written for Simon Stephens’ 2019 play “Light Falls” — and people seemed to like it.

The third and most significant: The band’s bassist and core member Steve Mackey died in 2023.“It made me realize that you don’t have endless amounts of time,” Cocker says. “You’ve still got an opportunity to create things, if you want to. Are you going to give it a go?”

And so, they did. Cocker assured his bandmates Banks, guitarist Mark Webber and keyboardist Candida Doyle that the recording process could be done quickly — in three weeks, lightspeed for a band that has infamously agonized over

like 1998’s “This Is Hardcore.” Webber describes a “reticence to get involved in a yearslong process” that was alleviated when they started to work on new songs which came “quite easily.”Trujillo, who typically avoids watching replays of his performances, found himself drawn in by the immersive experience of their show, which included interviews and close-ups of fans. He said the technology amplifies the energy of a live performance at a time when that excitement can feel diminished.

“For a lot of bands, especially in the hard rock genre, it felt like it was disappearing,” he said. “To me, this really brings it back and relevant again. It shows you the strength in the performance and the emotional attachment to the fans.”While virtual reality headsets offer a personal window into performances, venues like the Sphere and Cosm are expanding these experiences to entire crowds.

In their own way, both are redefining the possibilities of live performances and shared experiences.“It’s virtual reality without the glasses,” said Baz Halpin, the CEO and founder of Silent House Group, who produced and designed the Eagles’ residency at the 17,500-seat Sphere.