Two years ago, I attended my first concert of Carolina during. At that time, I wrote that his performance in Sansan had been a “success,” although “an important part of the people” had already abandoned the enclosure. In 2023, ‘Cayetano’ was the song that kept the public expectant: “He gave a little sorrow the large number of people who left as soon as the latter sang,” I put in my chronicle. Two years later, when the seventh edition of Warm Up, ‘Cayetano’ is starting is a mid -Setlist song and the end of the Carolina concert during brand that is already time to return home.
The Madrid group took the stage King UPP a day after what could be the most important concert of his career. Of those who create legend. Approximately 60,000 people, counting those who were outside the enclosure limited to 20,000 in Puente del Rey, enjoyed a generational bolus that presented two differences with respect to the Movistar Arena that recently filled: less songs (not many less) and better sound. Then, yesterday Diego Ibáñez and his people came out with a winning attitude and proved that they are a phenomenon. One of the best that I remember, also. The public, suicide, assumed the role of whirlwind that the vocalist normally accepts and that, due to his knee breakage, cannot play. It was the Karaoke concert par excellence.
The collective chaos of ‘Aaaaa#$! &’, Just after ‘fucking life’, is what breaks everything. It is when the glasses and the pogos happen without barracks. The country magic of ‘San Juan’, ‘I thought that God had touched me’, the appearances of Marcelo Criminal in ‘Forgive (now yes)’ and of the petunias in ‘Normal’, and how well the songs “Orchestales” sounded (‘Choose your own adventure’, ‘You probably are right’) without orchestra are enough reasons to repeat.
While they shake and shake at the same time to the people around you it is difficult to realize what is happening. It was clear that Carolina during generations. It is something to highlight because mixing people of different ages did not happen in other concerts, as in Teo Luchadamo, for example. What I don’t know is what the oldest will think with phrases like “I am not 30 years old and I’m almost broken.” It was also clear that it was one of the most massive concerts, although it is very difficult to say if it exceeded the masses of Franz Ferdinand O mikel erel.
The public defect of a Polish girl, docked 100% with the Madrid-Alicantina band, was not so euphoric with the Scots. The melody of ‘Hold it as you can’ sounded so suddenly that he gave a mini scare to all the people next to him and the hits parade that would come later would maintain this high volume, but most of the attendees did not seem to wake up or with ‘Walk Away’. This, although Alex Kapranos was putting all his energies to encourage those present and, frankly, he was giving everything. ‘Do you want to’ got some interaction, but until ‘Take Me out’ did not arrive, which caused a general mobile unlocking, those present were not won. And that the bolus was already in its last third. Too many hits? Different types of public? Franz Ferdinand gave the loudest concert, but they stayed away from the most captivating.
In this sense, Zahara y PabloPablo They share a prize. The first because, thanks to a special magnetism and a production section superior to that of any other artist of the day, he got it difficult to blink. The attendees, more shouts than those of Franz Ferdinand. Of course, I wish he had heard as high as that concert. The most raveros moments would have benefited a lot from it. Even the Momentazo of the portable bathroom, which more than a solemn number with the guitar seemed like a full -fledged cappella. Luckily, the voice of the artist of Úbeda is up to the circumstances. The visual, exciting and hilarious section in equal parts. ‘Your Michis’ and ‘Too many songs’, in which Zahara makes a “game over” to machismo and capitalism equally, are the best of ‘slow tenderness’.
Pablo Drexler is also not short of voice, with some scandal falsettos throughout his set, which was also the riskiest of the day. You have to have a lot of confidence in a project, not only to sing the most sensitive ballads of your repertoire in a festival, but so that no one also knows. Even so, those moments were free of murmurs thanks to a respectful public. It is not for less. Many of the unpublished advances of ‘Songs in me’ sound like something taken from ’22, to Million ‘by Bon Iiver: “I assure you that in a month you will know you all,” commented the singer with a smile in the face. ‘New Life’, ‘Sidekick’ and ‘What you call love’, against all prognosis, work perfection.
PabloPablo was the only one capable of competing with Rufus T. Firefly With regard to sound quality. The group of Víctor Cabezuelo and Julia Martín-Maestro began the day, around 6:10 p.m., with the perfect mixture of funk, soul, indie and everything in the middle, without fear of instrumental flourishes and extended sections. I will mention that he arrived at his concert knowing his great live reputation, but hardly his repertoire. They began impeccably with the material of ‘All good things’, with ‘The choir of dawn’, ‘The Plaza’, ‘The beginning of everything’ (with an impressive battery only in the intro) and ‘Blue thunder’ happening without rest. The album has been out for a week, but fans already know all the details. “This is old, it’s called ‘Nebula Jade’,” says Cabezuelo awakening the fury of those present. Since it is one of the songs that most usually play, I guess I’m late, but anyone who has lived knows what it is. Punta hairs. With the sun in full shine, even more.
Time felt especially good to Teo Lucadamothe only one capable of solving an error without leaving the character and without the beat (“forgiveness, I was wrong”). The Lucadamo show is pure charisma, with a very strong comic component, which is refreshing in a festival beyond the typical heat ojete or Russian brick. Himming the laugh while I recreate ‘I will not arrive (interlude)’ ‘or shit in his own concert (“what a bolus fucking fucking”, “Go from Murcia and not come back”) is an impossible mission. At the same time, he is able to get a beautiful moment with the acoustics ‘Luisa’, the only song sung of his repertoire. Two minutes later, he is dancing while rapping on his swimsuit ‘type Slip’. Teo is a man of contrasts.
