Who
Blur
Support
Self Esteem
Sleaford Mods
Where
London Wembley Stadium
When
8th July 2023
Price
£85.00
Who with
No-one
Position
Towards the front
Comments
After reunion tours in 2009, 2012 and 2015, I'd have reasonably thought that was it for Blur, not expecting another tour eight years later in 2023! But Blur at Wembley was a no brainer and it's staggering that as usual I had to go alone, and as I snapped up tickets for this in November and their Wolves warm up show was announced much later, this ended up being my eighth time watching Blur. Blur were quick to announce a second night after the Saturday show sold out in seconds, and it was quite a surprise that the Sunday night seemingly never sold out, or at least was slow to. My mate Tom at least had the sense to get tickets for the Sunday, as well as seated tickets for Wolves, but infuriatingly that meant I was experiencing these shows alone, and I felt aggrieved when the other night got the best support acts. Paul Weller and The Selecter for the less hardcore fans who hadn't rushed to buy the initial tickets? Not cool! I was so quick to buy tickets that I may have failed to secure the front standing area, buying for the cheaper rear standing area. It was an unfortunate arrangement as it meant that those at the front of the rear standing area would always be behind anyone wandering in at the last minute with the premium tickets, and it felt like a bit of an uncharacteristic cash-in by Blur. As I'm typing this they're about to do a "pay per view" performance of The Ballad Of Darren album, so perhaps I'm overestimating Blur's integrity, or they're seeking to earn some money for their old age. I'd like to think that being in Blur was a profitable experience at the time, but who knows? Only Damon had Gorillaz to top up his income! I'd purchased The Ballad Of Darren album on pre-order, which randomly included both the standard and deluxe CD versions, as well as an unnecessary cassette edition. I'm not sure why cassettes are back in fashion, it seems a silly gimmick. I forked out for this version though to get the signed art card, which I'm now able to gaze at as I write this review up two and a half weeks later, hot on the heels of writing about Sparks and Kraftwerk live.

At least Matt was kind enough to give me a place to stay over in London, which was a great help but I still wished he'd have joined me and shared the experience. But he had at least seen Blur in 2015 and knew what he was saying no to. I didn't know rapper Slowthai but did spot Sleaford Mods being added to the line-up, and I'm surprised to see that Slowthai was in court, which was a bit of a predictable thing for a rapper to be doing. I'd originally intended to go to London on the Friday night but instead ventured out on the Saturday morning after my swim and after packing all I needed. After a week in Limerick and then a rushed week of work, I wanted to maximise my time at home and also watch all the Indiana Jones films ahead of seeing The Dial Of Destiny in London. I downloaded the stupid ticket app after getting a few pushy emails saying that I must sort it in advance, and also noted a typical All On The Board social media post namechecking as many Blur songs on a information board as they could muster! It had been a six week gap between the Wolves show and Wembley, and I was quite concerned to see that Dave had picked up an knee injury and Blur had pulled out of France's Beauregard festival as a result. I was sure they'd do everything in their power to play at Wembley, and I wonder if they'd have subbed another drummer if necessary rather than cancelling, although given the emotions around playing without Graham in 2003, I would imagine Blur would be loathe to ever play again if they can't do it as the classic four piece? I'd been avoiding the setlists as much as I could but still couldn't fail to spot that a few songs were being reintroduced as the tour continued, and so I hoped that some of the classic hits that hadn't been unleashed at Wolves Civic would be played for us tonight. The advantage of a longer gap is more time for Blur to get match fit and fine tune the setlist for Wembley, but if Dave's injury had thwarted that plan, it all would have been quite the mess!

Online it was pretty vague about the concert rules, but I do remember turnstiles to get in for The Killers 10 years before, and that there was a relatively painless entry to the stadium. Tonight was £85, which was £99 after the fees, compared with just £47.50 for The Killers! I know that there has been some inflation, but I'm sure that greed coupled with the realisation that concerts bring in the money rather than physical releases has made the prices skyrocket. With a 90,000 capacity, it was certainly a lucrative occasion to be playing Wembley! In Wolves, St. Charles Square and The Narcissist were unfamiliar efforts, so this time I listened to them a few times, in addition to the 32 track Blur greatest hits I'd prepared a while back, and I also watched an ITN interview with Damon and Graham talking about playing Wembley. Yes, Kraftwerk and my holiday in Ireland had quite distracted me from this event, but at least I did some preparation, and I even extended this half week in London with a trip to Porthmadog, being perverse by doing two consecutive trips in exact opposite directions! On the way to London I celebrated an efficient approach to the services short of the M25 with a greedy KFC meal, before getting caught in very slow traffic that reduced the thrill of travelling over the Dartford Bridge for my first time. I'd made a few packing errors, worst of all was packing my old sat nav, which was frustrating enough that I made a special visit home to swap it round, which was useful also to top up on the cheapest petrol around since I was near Wolves. The signs on the M1 near Whipsnade Zoo warned of animals being reported on the road, and it was quite the shame to not spy any lions, tigers or bears. There also were road signs warning about the British Grand Prix and some golf, as well as this very show at Wembley. I'd aimed to arrive early but was later than I hoped for.

At least this time the process of making friends with the dog was much faster to allow me access to my bed for the night, and I had a quick wash before changing into my white Coffee & TV milk bottle top. I paid for the Dartford Crossing before I forgot and was feeling quite sticky, but at least it had stopped raining for the moment. I took a spare battery but left my camera case behind to hopefully avoid any drama, and was again frustrated by the lazy and overpaid fucks of the railways being on strike! Thankfully it didn't mess up my journey, but it did mean that Wembley Stadium National Rail train station was closed, putting more pressure on the tube to cope. It was a dick move, and the sooner they fire these cunts and make the trains driverless, the better! After getting to Blackfriars I went to Faringdon to take the Metropolitan Line, and was unfortunate enough to confuse it with Liverpool Street and I overestimated how much food would be available there. The choices were piss poor, and in the end I had little choice but to visit a second KFC of the day, also being conscious that the gates had opened at 5pm and that I was missing the support acts now. I was also emailing myself with notes for this review, and despite feeling that I should get a move on, I still purchased a Milky Way ice cream from KFC, as well as having to wait longer for a side of rice that I didn't even give a shit about. It was an agreeable accompaniment to a boneless meal and the time was now 6pm, but I knew I'd regret not eating a hot meal and didn't want to be reliant on the quality of food available at the stadium. I filled myself further with a coke and shortbread from Costa while I was around. I then made a bit of time up with a fast Metropolitan Line train to Wembley Park, even securing a seat before it filled up.

At Wembley Park there were swarms of people, and I was quite surprised to see so many young fans were attending. I don't know how they got into Blur, but overall it's gratifying to see that they are appealing to a new generation. There also was a long queue outside a merchandise store on the path to the stadium, which had a sign above it saying More Blur Rubbish. However I just wanted to get inside the stadium now, but of course I had to stop and take a few pics of the new version of the Blur logo being projected onto the screens outside Wembley! There were still so many fans outside the stadium, and it's only as I'm writing this now that I remember I'd also seen The Stone Roses At Wembley back in 2017! It's strange, that show has been almost wiped from my mind, and the recent twattishness of Ian Brown is largely the reason I'm afraid. I had to go to the Blue Zone entrance and walk left round the stadium to find the correct turnstiles. Here I was mightily confused, as it just didn't cross my mind that I needed to completely insert my phone into the scanner to get the ticket scanned. It was most unclear! After I finally got in after being told how, I went through a drama free security check and got given a cute yellow wristband. I popped to the loo before entering the ground proper, feeling the atmosphere as I walked down the steps, and despite being later than I wanted to I quite easily got in front of the sound desk in the middle. It was a bit weird to think that those in the front standing area had better views than anybody in our zone, but that also made me a bit more relaxed as I knew I couldn't get much further forwards anyway. A relatively calm central area in front of the sound desk so often works a treat!

I'd missed first support band Jockstrap entirely, and only saw the last few seconds of Sleaford Mods, which was a shame as I'd fully intended to watch them. This is where the traffic had shafted me a bit, as they'd started at 6.40pm so hardly early. All I saw was them leaving the stage and projecting a drawing of a penis on the screen. My phone lost its internet almost entirely - no doubt due to the volumes of people around - but it was good to be here and also to be outside with a bit of breeze. I was confused by the face masks that people were wearing and it turned out to be the Darren who'd inspired the latest album. It was an annoyance though, as some masks were being held up and blocking my line of sight a few times! I spotted huge suspended disco balls to my left and right that I anticipated Blur would be using later, and admired again how Wembley feels so intimate despite its immense size. Although the decision to bulldoze the original Wembley towers and cost of construction were both shocking, at least at the end of it we were left with a genuinely amazing national stadium. I didn't know a thing about Self Esteem, who was next up at 7.25pm. I didn't even know she was a solo artist, but Self Esteem made an endearing start by projecting the repeated phrase "don't fuck up the Blur gig" behind her, which actually stayed on the screen throughout the show! She appeared and started some catchy and interesting music, with backing dancers and elaborate choreography to boot. Everyone was dressed in white and it just wasn't what I was expecting, but it was a pleasant surprise! She gave off Kylie at V2001 vibes with stairs behind her, and it was a relatively short but interesting set. She smudged her lipstick at one point and it stayed like that for the reminder of the show, and I shot one short video on maximum zoom, which demonstrated that I was actually quite far away and that my camera was too jerky to capture this as well as it should.

As well as the Darren masks there were a few twat hands, and although I had a good, calm spot and pleasing overall view, I do feel that I was a little further away than I'd have liked. There were six members of the band visible, with one on drums and another on keyboards, but the other three were backing dancers/singers behind Self Esteem. I feel she said a few things, but as I'm writing this four weeks later, I'm struggling to remember now. Although I'd have naturally preferred Paul Weller, I have seen him before and I do feel Self Esteem was worth a watch, so in the end it worked out well! But now was the wait for Blur, as a few fans were leaving then barging back in with unnecessary beer, which really seems a moronic idea at a long concert in a huge crowd. I don't get it, as if the band is good enough, no extra stimulation is necessary, and alcohol just dims your memory and can easily ruin the experience and leave you taking loo breaks at critical moments. The stage was set up and three back screens were put in place, which can be seen in the picture above. A few in front were naughty enough to be smoking, but as it was outdoors and a huge crowd it didn't matter too much, and it's easy to forget that in the old days this was perfectly normal. Quite dull DJing had been happening between the acts, and Just Can't Get Enough by Depeche Mode was the first tune that provoked any reaction. It's silly, it isn't hard to play good songs, and if I was DJing, a tune like that would be the low point, not the only notable moment amid nondescript music. I spied that two older guys were doing this DJing, and really they should know better! As my internet was fucked I had to resort to sending texts to myself of some notes, and Wembley had been kind enough to clearly advertise that Blur would be playing from 8.35 to 10.45pm!

The set started unexpectedly with 2009 vibes as an updated Blur logo in a green orb with lines going out of it appeared on the screen, and The Debt Collector started up! I recorded a video and some fans were singing along but others didn't seem to know it. I recorded Blur appearing onstage and some more twat hands blocking my view! Appropriately a more old school Blur logo was suspended above the band, appearing pretty low at the start and being raised or lowered - or disappearing entirely - as the show went on. It was great to start with something I knew, and even the proper opener of St. Charles Square sounded much better now I'd heard the tune a few times. I was recording almost every song, so here were blue and orange lights and it sounded pleasingly heavy. Also Damon was wearing glasses, but he took them off as the show progressed. Damon took great delight in saying "hello Wembley" and the atmosphere was electric. The fans knew that this was a historic moment, which I reflected by a status update placing this amongst legendary concerts in English music history. Some of which, such as Macca at Anfield 2008 and The Stone Roses at Heaton Park in 2012, I'd attended, and others such as Queen at Live Aid 1985 and Oasis at Knebworth in 1996 were sadly before my time. But for me, Blur at Wembley deserves equal billing as a genuine historic moment in our live music history. Next up was There's No Other Way, backed by a new video that looked inspired by the original one. I captured the guitar intro and people whooping and jumping on the first verse and chorus. Damon was restless as usual and as I was fairly far back I did struggle to keep track of where he was roaming to. I think it was a good bet that he was going everywhere though!

Next up was Popscene, and the fans really embraced this song which sometimes not everyone seems to know. Dave was on the screen leading the drums and clearly had recovered, and the word Popscene was in flashing lights on the screen amid an orange monochrome backdrop. Unusually the band weren't just playing the original videos, but clearly were trying to capture the original vibes. Blur then deviated from their Wolves setlist by playing Tracy Jacks instead of Coping, and although both tunes are good, this was definitely a fantastic upgrade! My video sounded amazing and I considered it for Facebook later, before choosing a more predictable option. The fans were loudly singing the title of the song back to the band and I recorded it all the way up to the "ran around naked" line. I also shot the briefest of videos on my phone of the very ending, in a "can you tell what it is yet" moment for my friends. Brilliant so far, and the fans and band were equally enthused. Next up was Beetlebum and it's hard to believe that this was ever considered a difficult song. It was performed amid yellowy green lights and the fans were loudly singing the chorus. By now the Blur backdrop had disappeared (for the moment), and I'm proud that this is the only song that I can kind of play on guitar. Damon was on guitar here too, and the fans went mad for it. My spirits dropped for the inevitable Trimm Trabb and it is maddening how it is always played. It's so far down the list of "must hear" Blur tracks, and was one of the very few I didn't bother to record a video for. Things stepped back up again for Villa Rosie, and my video captured red lights of the build up. Damon had his arms in the air and was holding his head, emoting to the lyrics. I also took advantage of the zoom on my camera, which is good as otherwise it was just so challenging to see the band for real, but the flipside is that I was in a comfortable position and had a great overall view of the stage and the screens.

It was delightful to hear such an obscure song at Wembley, and then Blur took me by surprise with Stereotypes! The band seemed enthused and the crowd loved it to. It's always felt a bit of an ugly song to me, and it is the weakest single off The Great Escape, but for me I'll always consider it pretty much the equal of the Parklife album. Out Of Time was a magical moment as the fans around the stands all turned the lights on on their phones, creating a magical effect. It was good, but one of the very few moments that I didn't record at all. Next up was Coffee & TV, backed by blue and pink lights and a split screen effect that at one point led to 10 Grahams on the screen. Graham looked a bit knackered and scruffy but he certainly sounded great, and it's just a shame that some cretin jumped on the shoulders of their friend and blocked my view and ruined my otherwise near-perfect video at its end. It's a very twattish move, and very rude for everyone standing behind, similar to holding up a sign throughout. Not cool. More surprising was to hear Under The Westway, apparently being played for the first time since 2014. Damon said that it was a London song and so was appropriate, and I started recording it before its intro after correctly guessing what was going to be played. A lovely moment and for me it is probably the high point of Blur's post 13 material. Damon then paid a very heartfelt tribute to Freddie Mercury, almost lost for words when trying to express what he thought of the genius of that man. He talked of the sum of human joy that has happened at Wembley over the decades, and it must have been one of the most passionate tributes to the glory of our national stadium that has ever been articulated by a musician from its stage. I shot a video of the end of Westway going into End Of A Century. It was a good singalong backed by blue lights, and I believe this time Damon sang about getting closer to 30, perhaps feeling it a bit embarrassing now to mention his true age. Which for the record, was 55! End Of A Century is a decent enough song but has always been far from my favourite. And compared to what followed next, it was somewhat blown out of the water.

Inexplicably a tent had appeared onstage and Damon asked us if he should investigate it. He reappeared wearing a deerstalker hat and Blur launched into a glorious and only half-expected take on Country House! I shot a very long video capturing slot machines on the screen and the crowd loving it. I recorded all the way from the start up to the epic guitar solo and then the singalong on the slow bit. On the video screen I could see Graham pulling some faces of distaste, but whether he was being humorous or disliking the moment it's hard to say. Sometimes the band don't play it, which disappoints me but I'm sure no-one is forcing them to perform it if they don't want to! The outro wasn't quite as extended as I've seen before, and this would have been my Facebook video for later if it wasn't for what came next. But I feel Country House remained my favourite. Damon went back into the mysterious tent and re-emerged with the one and only Phil Daniels, who somehow regularly appears with Blur at all these big shows down south. I think it was my fourth time seeing him, and he was wearing glasses but otherwise as energised as ever. I shot a great video and the crowd went apeshit, enthusiastically singing along and moshing and screaming. I recorded the first verse and chorus in full and felt that this was the one that my Facebook demanded I post. Next up things could only go down a few notches, but To The End is a strong way to do that. The fans were singing loudly and there were some pretty lights, but to my surprise the large disco balls were not deployed as expected. Next up Blur took a diversion to play Oily Water, and randomly a large polar bear had now appeared onstage! By now it was pretty dark, and that coupled with my distance from the stage meant that few of my photos turned out well unfortunately. My video footage was far better!

Advert was more exciting, and I recorded up until the vocals came in. I spotted on the side screen that it was spelling out the letters ADVERT, and it was typically thrilling. Song 2 had a false start and the level of insanity was unequalled. I've been thinking that it genuinely is a song that everyone knows, potentially ranking in the top ten most recognisable tunes from the last 30 years. Damon joked about them being old men, and that there's something vaguely hilarious about old men throwing themselves around on stage, before pointing out that us - the audience - are responsible for making them this way! I knew what they were up to though and correctly identified six more songs that they had left to play. My Song 2 video was chaotic, and I'm proud of myself for doggedly sticking to my moshpit retirement. The crowd were woo hooing to the drums before it started properly, and I recorded up until the end of the first chorus. Astonishing. And the main set then drew to a close with This Is A Low, and as time seemed to be running low, Blur didn't patronise us with multiple fake exits, and just stuck it out until presumably a curfew at around 10.40pm. Or they just wanted to help us to leave more smoothly by not sticking it out until 11pm? They'd played a solid two hours and loads of songs, so I don't think anyone could have felt short changed, and it was most special that a huge Wembley crowd were more enthusiastic and generally better than a Wolves crowd. Not what I expected to say, but there does seem to be a genuine love affair between Blur and London that may be unmatched by any other city! This Is A Low featured gentle blue lights, and my video was fairly blurred as it was now quite dark. Also a few twat hands were blocking the view which is not helpful. Blur did a supremely cheeky encore by starting a clap and chant of "Wembley", before Damon jumped onto the piano and launched into a meandering take on Lot 105. I've heard this was the first time they'd played it since 1994, so it made for a lovely little Easter egg, and the band rocked out at the end. Another twat in front was hoisted on the shoulders of their friends, but apart from a few of these apes, things were mostly sensibly chaotic.

This was followed more predictably with the inevitable Girls & Boys, with some excellent onscreen footage synced to the chorus of a blue background for boys and pink for girls. Damon proudly told us that he was wearing a replica of the original top from the music video that had been lovingly made for him, and as far as I could tell he said that love in the 90s is paranoid, rather than engaging in the past tense I've heard him do before. Blur were older for sure, but it's hard to imagine them being this accomplished and enthused in their heyday anyway, so maybe we had travelled back in time? I struggled with my camera to zoom past the twat blocking the view, but otherwise it was fabulous, and there was even some live footage of the crowd on the screens too. For Tomorrow is a strange one, sometimes it is a bit plodding and other times it utterly soars. Today it was perhaps overshadowed by the songs around it, but it's one that everyone expects to hear and I shot a short video, capturing blue lights and a fairly gentle pace, while Modern Life Is Rubbish was projected onto the screen. We were then promised a special guest and the arrival of the London Community Gospel Choir signified that it was time for Tender. It was great to have them, but in my mind I'd hoped for a much more special and iconic guest slot, so Damon oversold it a bit. Tender was introduced as a real London moment and it did make me wonder if many other fans had successfully attended the London shows in 2009, 2012, 2015 and 2023. It was an achievement I was proud of! And if it wasn't for the fucking disaster of NME sharing the private presale link to the Newhampton Arts Centre show in 2015, I'd have seem the Wolverhampton warm-up shows each of those times also. Tender wasn't as extended as I expected but Alex was sitting down and by the end Damon was actually lying down to soak up the applause. The choir took up all the back of the stage amid red lights, and although a good moment it was far from the loudest I've heard a crowd sing during Tender.

Damon asked everyone to put on their Darren face masks for The Narcissist, which is a pretty song that holds its own in an insanely strong encore. It does sound somewhat like Dancing In The Dark though, but Graham added some pretty backing vocals and the fans clapped along. To my surprise, my video here achieved excellent focus for once. But now the end was nigh, and it turned out that those two disco balls had been saved for The Universal! Damon said that we were properly mad for sticking with Blur for so long, but our loyalty is simply a testament to their quality and ability. There are far, far worse bands who are still playing large shows who can't hold a candle to Blur. Everyone had their hands in the air and I shot my video for the first verse and chorus. And of course this was the end as I made my way out up the stairs, stopping briefly to take a picture of the pitch and stage from a height. Outside the organisation was shambolic, as everyone was trying to get round the stadium but then we found we were way too high and had to find some steps down, and had to push past some dickheaded bouncers who were trying to block our path to the steps. If we'd been funnelled the correct way in the first place, the problem would have been eliminated! I stopped briefly to take a few lovely photos of the statue of Bobby Moore illuminated by the Blur logo, which fortunately justified this misdirection. The approach to Wembley Park was fast before we ground to a halt, yet this frustration was ultimately justifiable to allow a safe flow of people into the tube station. I feel foul mouthed as I stand and wait for the underground, anyone? I felt really sweaty and got on a train ok, which wasn't as rammed as I'd expected but I still had to stand. I commented about someone's red bag which stated "I want McNormal and chips, or I'll blow you to bits", with the lettering suitably sized so it didn't look like a malicious threat. I was impressed that this was official merchandise, but know a bag will have little use for me.

All this time and not one compliment for my fabulous milk bottle top from the Coffee & TV video, which I was a bit miffed by! I experienced a slow change at Green Park and again at Victoria, and had an appalling experience trying to get some food from the McDonald's in Victoria. They didn't do McFlurrys or wraps and put ice in my Coke after I'd told them two or three times not to. They also claimed to not be able to give me a five Chicken Selects meal, but that they could manage three. Utterly useless, and inexcusable that a late night McDonalds fails to cater for the thousands of people who just want to enjoy a lovely McFlurry! Maybe it stopped me being as greedy, but the incompetence still frustrated me. When I got back to Matt's I cut off my wristband, and attempted to sleep in late the next morning, meeting a bit more success at doing this than I sometimes achieve. It had been a fabulous show, combining the epic setlist of 2009 with the production values of 2012. It's difficult to judge if it was the best Blur show I'd ever seen, but 2009 had set a high standard and had probably edged it based on sheer quality, even though the overall experience was better here. Apart from Coping which I mentioned above, Intermission, Jubilee, Chemical World and Young And Lovely had been played in Wolves and left out tonight. But given that we got tunes such as Country House, Tracy Jacks, Stereotypes and Under The Westway in their place, this was certainly an upgrade! The following night at Wembley were jammy gits, getting to enjoy the same setlist plus Sunday Sunday! Apparently that show started and finished earlier too, which could have shafted me a bit with my slow arrival into London. Also Alex had made a memorable and cheeky jab at the guitar introduction to Vindaloo by Fat Les as part of the soundcheck on Sunday, and I very much enjoyed seeing the video of that afterwards.

I do feel aggrieved that the more hardcore fans who'd got the tickets for the first night had got worse support acts and one less song for our efforts, and that reminded me of The Rolling Stones pulling the same stunt at Hyde Park in 2013, actually having the audacity to offer a hugely improved setlist to the lesser fans on the second night. Not cool. I enjoyed Blur very much but they've been somewhat overshadowed by my deepening love for Kraftwerk, as I've treated myself to the full 3-D Catalogue boxset, containing reworked versions of their primary eight albums. I also got a Kraftwerk book and DVD as well as their Remix album, and intend to quickly purchase the eight remastered original albums too. But I rewatched Blur's epic Glastonbury 2009 set highlights just before writing this up, and my love for the band is as strong as ever. It also felt rather special to think that I'd be following them with a long-awaited viewing of Pulp, making another visit to London so I could achieve that. I had a fairly chilled Sunday, struggling to stay awake through the (actually quite good) Indiana Jones 5 film and enjoying a pleasing country pub lunch. I then drove onto Porthmadog, enjoying a second part of the holiday in the exact opposite direction. The weather in Wales was less awful than promised, except during the much-hyped llama trek, which was fun but spoiled a little by relentless and thoroughly miserable rain. However, the weather had been good for Blur, and the decision to venture to London and see them was - just as expected - absolutely the right thing to do.
Setlist
The Debt Collector
St. Charles Square
There's No Other Way
Popscene
Tracy Jacks
Beetlebum
Trimm Trabb
Villa Rosie
Stereotypes
Out Of Time
Coffee & TV
Under The Westway
End Of A Century
Country House
Parklife
To The End
Oily Water
Advert
Song 2
This Is A Low
Lot 105
Girls & Boys
For Tomorrow
Tender
The Narcissist
The Universal

Mark: 9.5/10