Among the first concerts of the day on Friday at Primavera Sound, The Last Dinner Party showed that they are one step, one album, one era away from becoming the next great British band. Isn't it already? The Last Dinner Party has plenty of great songs, so much so that the group allows themselves to play an unreleased one, called 'Second Best', which, by the way, is opposed to being the best of their career. 'The Feminist Urge' or the chanted 'Nothing Matters' are among the audience's favorite anthems.
The baroque pop of The Last Dinner Party finds its ideal squire in vocalist Abigail Morris, on stage a torrent of physical and vocal theatricality: if you've ever imagined Kate Bush leading Queen, this is pretty close. Somewhere between a classic rock band and a Spice Girls straight out of the Middle Ages, The Last Dinner Party takes over the Cupra stage and points to a bigger one in the future.
The festival meetings with Disclosure They are practically annual, but their dance hits do not lose an iota of effectiveness. The public continues to celebrate 'Latch' as if it had come out yesterday, continues to be enraptured by 'White Noise' as if ten years have not passed since its premiere, continues to touch the sky with 'When a Fire Starts to Burn', and definitely already accepts 'Douha (Mali Mali)' among the great classics of the brother duo. Guy and Howard also have a blast on stage: you can tell that, in addition to producing the music, they enjoy it like no one else.
In the midst of the furor caused by Disclosure's elegant house, one of the best produced today, the memory of a new album that has unfairly gone unnoticed appears: am I the only one who has listened to 'Alchemy' ad nauseam? Disclosure gives it some flair by playing some of his songs, such as the spectacular 'Higher than Ever Before', which serves as the finale, but the repertoire visited is classic. The audience, of course, leaves their concert delighted. In this case there is no surprise either.
The crush of people at Primavera Sound makes it difficult – if not impossible – to get to some of the most interesting concerts on time. It is the case of Jay Paul, whose concert briefly coincides with that of Lana Del Rey. I estimate that I have half an hour to enjoy his show but, when I reach the Cupra stage, Jai Paul is playing the last song.
It gives me time to appreciate that 1) the myth he has achieved is impressive, since his stage is blown 2) not even he himself seems to believe it. Jai Paul shows little live and, although his stagnation is noticeable on stage, he also transmits that shyness from which he never expected any of this. Setlistfm tells me that his repertoire includes a cover of Jennifer Paige's 'Crush', but all I have to do is appreciate the people in the front rows wildly jumping into the wind to 'Str8 Outta Mumbai' to understand how special this is.
Mabel It differentiates its proposal from the majority of Primavera concerts with a deliberately commercial and enjoyable sound, 100% UK-made. In her set there are echoes of 2000s pop, specifically hits by Aaliyah and Destiny's Child, although, ironically, Mabel is perceived as uncomfortable on stage and does not at all defend the songs live as she should. As for the repertoire, “Meibel” premieres 'Look At My Body Pt. II' live and, above all, provokes collective euphoria with the 24 carat pop of 'Don't Call Me Up', a song that I had forgotten completely from my memory. What a great song it was!
