Primavera Sound does not end on Saturday: there is a final spectacle of Primavera a la Ciutat on Sunday, with a multitude of concerts spread across several venues. Almost all of them have sold out. Some sold out within seconds, like Cass McCombs in the tiny Laut room. But I did get a place at Paral·lel 62.
In Paral·lel 62 one of the biggest complaints is Konono Nᵒ1. The Congolese are famous for their self-made instruments, a la Einstürzende Neubauten. And like the Germans in their early days, they look for physical sensation before the song. The base is some tuned ikembes. From that, the drums, percussions and programming create a syncopation between dissonant jazz and dance music, at some point they even approach house. They develop repetitive mantras, in which they barely introduce variations, which seek dance and trance. With this sound magma, along with the beautiful and surreal audiovisuals, where loops of bodies that look like seaweed are shown, they achieve a hypnotic set.
But the main course is Black Country, New Road. I admit that it has been difficult for me to face the new version of the group after the departure of Isaac Wood. They are not the first nor the last to overcome the departure of their leader by changing musical orientation. From post-rock with hints of hardcore they have moved on to a fairly classic progressive folk, with vocal sets that remind us of ABBA at times, since the vocal part now falls on the beautiful voices of its three female members. All the material they play is from their latest album. Out of respect for Wood, they do not perform any of his previous work.
Paral·lel 62 is packed with people. Before opening, Petula Clark’s ‘Downtown’ echoes through the room, sung loudly by everyone present. A bit like to announce that these BC,NR are more towards the precious pop. The band cannot play better and transmits tremendous warmth, thanks to the exquisiteness of its execution and the touches provided by the piano, violin and accordion. The drummer jokes that we must be very tired after three days of the festival. But the bucolic nature of his new proposal helps us cope better.
Perhaps the moment that comes closest to the previous BC, NR is ‘Nancy Tries to Take the Night’, with its dramatic crescendo. But the balance tips towards the pastoral and the tender, as in ‘Besties’, with its wonderful air of 80s adult pop. They also play a version of Big Star, ‘The Ballad of El Goodo’. Or they turn ‘Goodbye (Don’t Tell Me)’ into an energetic symphonic rock fantasy, a bit like ‘Bohemian Rhapsody’ even.
Although perhaps the best moment is seeing them all perform ‘Forever Howlong’ on the clarinet. They close with shouts of ‘Free Palestine!’: a flag has been hanging on the piano throughout the concert. ‘Always on My Mind’ by Pet Shop Boys plays at full blast while we evacuate. A friend complains that they did the same concert as at Primavera Sound in 2025. I can’t compare, because I wasn’t there: I have been a victim of my prejudices for three years. We have to assume that BC,NR are now something else. One other thing to keep in mind.
