The grenadine passed Lola Indigo discreetly by the ‘Operación Triunfo’ factory, expelled at the first opportunity in the 2017 edition, nothing to do with what he finds now when he goes on stage: thousands and thousands of applause and hips following his songs that They replicate that well-known formula of urban pop with some surprises (some “bitch” sneaks in there). This Friday, with the responsibility of finishing off a party, that of the Share Festival, which had been burning since early in the afternoon with, above all, the Latin fire lit by Puerto Ricans Myke Towers and Jhayco. He was accompanied by an audience that filled the Parc del Fòrum (20,000 attendees) ready for dancing and shouting, among them illustrious guests such as numerous Barça players (Salma Paralluelo, Patri Guijarro, Claudia Pina…), as well as some of the men’s players (Alejandro Balde , Julián Araújo).
Lola Indigo, with a renowned ‘performer’ label, Well, dance is undoubtedly one of his strengths (he also went through the dance ‘talent’, ‘Fama’), he appeared from a huge ‘dragon egg’, a reference to the album he presents, ‘El Dragón’ (2023), with a dozen dancers around him. His role, by the way, was indispensable for the ‘show’ that closed the Share Festival today, full of dizzying choreographies. And, on several occasions, they were the sole protagonists of the stage. Lola Índigo warned it in the first bars: “It’s a ‘show’ that tries not only to dance us, but also to get you to dance”. During the hour and some commotion, hits were played, many of them in collaboration with other artists, such as ‘Diskoteka’, ‘El Tonto’, ‘Me Quedo’, or that vindictive and proud ‘The School Girl’.
Before the grenadine, who got the most out of that EP with designation of origin called ‘GRX’ and her ability to cover flamenco pop classics like ‘El pantalon’, by Las Chuches, Myke Towers demonstrated his attitude and leadership sign at the first change. Only from the stage did he give himself to a crowd that was visibly a fan of the trap that he has maintained since its origins. He then drifted towards his pieces closest to reggaeton to follow in the wake of Jhayco, who performed hours before, as did the Colombians Cali and Dandee, although it is worth mentioning separately how the electro-Latin hits of Juan Magán, eternal entertainer, endure, since he It is maintained despite the fact that the public is changing.
