Ca7riel and Paco Amoroso go to the stage of the crowded Movistar Arena imitating Michael Jackson in the iconic Super Bowl of 1993. They remain impassive for several minutes while the applause and the screams happen, while turning their backs on two huge inflatables of their own heads. Just six months ago, the Argentine duo was playing in the But for 1000 people.
It all started with a progressive rock band called Astor. To the guitar, Catriel Guerreiro. With the battery, Ulysses Guerriero. The mastery of his beginnings has not disappeared in this new stage of his career, marked by the Latin rhythms, the R&B and the shameless pop. It has only been transformed. Perhaps this is precisely the reason why so many people connected with their legendary Tiny Desk. Precisely, this is the format with which they begin their second Madrid show, aware of their overwhelming success. The same musicians are present, in addition.
Catriel and Paco know how to perfectly combine the virtuosity that they love so much with the codes of a whole generation. ‘Dumbai’ opens the show with its very fresh reggaeton, but wrapped in delicious jazz and soul arrangements that are missing in the original recording. The same does not happen with ‘Importor’, one of the jewels of the EP ‘Papota’, in which the sophisticated sound of their Tiny Desk leads to the study while reflecting on their privileged position with their humor marks of the house: «People were excited / grandmother doing Tiktoks / And now what are we going to do? / Tiny Desk screwed me.
Even being sitting, Catriel and Paco maintain a tremendous presence. In large part, for how great characters they are. The only thing that came to mind during ‘Black Widow’ and ‘I wish you’ were the memes comparing the resemblance of Paco Amoroso and Lady Gaga. He, with a camera look, is able to make you laugh and put on a nervous tank at the same time. It maintains a carefree attitude, while Catriel is pure electricity. This is the unpredictable vocal and technical force of the duo. Able to interpret a very delicate guitar only at the end of ‘Bad Bitch’ just to get you out of the trance shouting at every lung: “Where are my bad whores!” Good time to remember that this is also a vocalist of a metal band called mud.
The themes of the individual repertoire of each were clearly the least known to the public, but this is a perfect concert to not know a song. While you like rhythm, all good. You can get carried away by the stadium sensitivity of ‘Pirlo’, the fanfare frenzy of ‘the one that can, or the makeshift party of’ Sheesh ‘. In this, the enclosure becomes a dark disco plagued by lasers. Yes, it must be said that in the but this was even more spectacular, with these lasers leaving the artists’ glasses.
Before the unrepeatable final third of the show, Paco leaves aside his rough voice and leaves the character for a moment to remember that his music is not just young people in one of the most beautiful moments of the night: “I see that there are children, grandparents, and adults here, and I want them to know that we see them all,” he said. Then, thank their mothers, present at the concert, because in the end it all started with them. Catriel gets carried away by emotion: “I love you, daughter of a bitch!”
After giving skis and sinister shirts with guns with which they reached the bottom of the track, the duo goes fully with two classics of his career: ‘Ouke’ and ‘Ice cone’, the most representative pieces of his second stage as two of the greatest exponents of the experimental trap in Argentina. The climax reaches half of ‘#tetas’, with a kind of ‘Pit crew’ invading the stage. A pectoral festival, testosterone and, of course, Bromance. Extra merit for Catriel and Paco to bring back the DAB in the middle of 2025. ‘Friend’s Day’ and ‘The only one’ fire the show with the perfect point of tenderness and joy. Ovation is as spectacular as deserved.
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