Adding 70,000 people over its three days, Mallorca Live has closed its ninth edition with David Guetta’s closing party. It has been an unusual edition of the festival, different, with Aitana as a great media attraction. In JENESAISPOP’s comments they already predict that she is becoming a “giant” of pop. She, for her part, also had words for the rest of the artists on the poster whom she “admires”, especially for Rusowsky, whose concert she missed while she was having her makeup done. It is a cliché at this point to ask for collaborations between artists, but the one between Rusowsky and Aitana is requested by the public. It could be something very big.
The ‘DAISY’ concert continues to be overwhelming for its sonic power and its amalgamation of styles; Even for those who have seen it repeatedly, the songs are so stimulating that it is difficult to get bored. The beginning with ‘Johnny Glamour’, sampling Las Ketchup, is still a delirium; the percussions of ‘PINK + PINK’ reverberate through the Mallorca Live venue like a thousand woodpeckers pecking at the head; the rage trap of ‘KINKI FÍGARO’ and the different references to R&B, house, samba or trap build a set that works with its own logic based on eclecticism.
If anything, one could criticize that the initial section of the concert depends excessively on ballads like ‘SOPHIA’, the hypnotic ‘ALTAGAMA’ or ‘BBY ROMEO’, which gives rise to a show with a somewhat uneven rhythm, which gains muscle when ‘KINKI FÍGARO’ enters after the “chronically online” visual interlude of the flirtatious gorillas, the very badass “Papi Chulo” by La Zowi or, of course, that ‘Malibu’ become a mainstream summer hit, proof that not everything in the world is bad.
Rusowski continues to play the mystery, keeping the stage half dark, making it practically impossible to see him and his wig during much of the show. As a hype man, the concept of asking the audience to stop napping throughout the set becomes repetitive after so many concerts. On the other hand, it is still a plus that he plays with a band, including a clarinet performed live, and it is evident that his musical proposal is ceasing to be alternative, which is a great success.
Many of the criticisms on networks directed at Aitana’s concert at Mallorca Live come from fans of Cypress Hill who regret that the Estrella Damm stage floor was full of parents and children occupying the first rows from early in the afternoon, while the group’s fans could not access and had to watch from further back. Aitana herself noted that she had never played “this late,” and surely Cypress Hill fans would have appreciated the band performing on their schedule and not before.
The Cypress Hill concert was actually an afternoon-turned-night, built around a classic hip hop set. The live lineup is based on MCs B-Real and Sen Dog, who are in charge of the vocals, accompanied by DJ and producer DJ Muggs, responsible for the beats and sound direction of the show. Sometimes they also incorporate a band or instrumental support depending on the tour, but the core of the live show is that artistic trio between rappers and DJ.
His most recognizable West Coast rap anthems, such as the psychedelic ‘Insane in the Brain’, followed one another with metal winks and populist slogans against the “lying politicians” who govern us. Trump just turned 80, by the way.
The hour and a half set overlapped the last 15 minutes with Rusowsky, so I was away from Cypress Hill for a few minutes to catch the start of the ‘DAISY’ show. When they returned, the stage was even fuller and the energy sounded fully greased, while the chants of “Pick it up, pick it up” from ‘Hits from the Bong’ or the West Coast delight of ‘When the Shit Goes Down’ followed one another. A great success for Mallorca Live to vindicate these giants of early hip hop, whose old-school show continues to arouse passions because they are true masters of what they do.
Aitana’s complex setup forces the team Kaiser Chiefs to delay his concert half an hour. To understand Aitana’s level of scenography, a 45-minute margin between concerts is not enough to dismantle her “house” and assemble the Kaiser Chiefs scenography, despite it being much simpler.
In any case, perhaps subject to the time limit of the festival, Kaiser Chiefs go to work and kill several of their biggest hits earlier than expected, making the entire audience jump like crazy, including ‘Every Day I Love You Less and Less’, ‘Never Miss a Beat’ and, above all, the euphoric ‘Ruby’, which sounds surprisingly early, giving the concert a greatest hits feel. The truth is that, if so many groups associated with the word “indie” have been able to produce a single hit that is so recognizable, it is worthwhile that Kaiser Chiefs have so many.
Combining anthems like ‘I Predict a Riot’ with other lesser-known but equally energetic ones like ‘Good Days Bad Days’ or ‘Hole in My Head’, Kaiser Chiefs offers a rhythmic, colorful and very fun show, supported by the extremely British charisma of its vocalist Ricky Wilson, who ends the concert, in his style, climbing the structure of the stage.
As a curious fact in the life of the music journalist, he ended up sharing the transfer from the hotel to the airport with Wilson, who was going to the airport without his bandmates. I told him that I saw him climbing and he replied: “Oh yeah?” And that’s all.
