This Saturday, the first of the events Vibra Mahou Fest 2025 was held at the Vibra Fair, congregating 2,000 people in competition with a “vibrant” Madrid-Barça as the end of the Copa del Rey, which also added extension and ended at dawn. The cycle has gathered 24,000 attendees in past editions in places such as León, Gijón, Valencia, Tenerife or Madrid, and this year will add adherents with eclecticism as maximum, and the incentive of beers at 3 euros, half of the usual in this type of event (in addition to a ball park with prize).
That on this occasion the heads of the poster were Zahara and Siloé could make think of some editorial orientation “indiemainstream”, but the truth is that there were also urban strokes by the hand of Ani Queen and the most underground underground, by the hand of limestone.
Elisa Pérez’s project had to act at 5:15 p.m., when only the early risers had approached the tent, which did not imply that her electronic productions hypnotized less. He acted only in the company of a bassist, striving to introduce some songs that talk to us about the discomfort of the world in the 21st century (‘Another tower’) or “Abandon capitalist projects.” The city of Madrid received several darts in these 30 minutes, especially in the final stretch of the set, with the song entitled exactly ‘Madrid’ or ‘Dangerous Friendships’, which tells us about the Castilian, and represented the most danceable point.
One of the maximum of Vibra Mahou Fest is to support local artists, and that could not be reduced to the growing and already settled popularity of Siloé. Ani Queen, with 4,000 monthly listeners, thanked that some people would have “made a tail from 11 in the morning” to witness their concert, and the truth is that a dozen chiques wore t -shirts of him and chanted their songs in the first rows. It was the lgtbiq+ latest audience, even above Zahara.
Ani Queen appeared for a court of dancers with the virtue of youth and the desire, with Lady Gaga as a clear referent in the aesthetic. In the musical, instead the Beats Reggaeton and the Urban, with group choreographies, and a more sense dedicated to a brother who lives in the remote New Zealand. Ani Queen projected videos with more and less grace, to highlight the superposition of tweets and comments that they got with her, especially after an action performed on the major beach of the city, a telelon to Jason Derulo, and the intervention of the former mayor and today Minister of Transportation, Oscar Puente.
Speaking of authorities, when the energy crisis on Monday passes, it would not be bad for the current local government to invest in improving the sound of the Valladolid Fair site, and less in the bulls and bullfighters that it promotes through the streets of the city. Sound technicians suffered during the 5 concerts for offering the best possible equalization, and one of the largest affected was Barry B, which currently offers a show-based shows and the band sound. If someone believed that in this “eclectic” poster a rock, guitar, battery and bass band were missing, those were Barry B.
Postulate as a star, then, Barry came out with sunglasses where there was no sun, following fashion seen a few days ago to Senra and affection in Benicàssim. With its most urban part in absolute background, the truth is that it was not easy to follow the most unknown songs of its set, which stood out especially when two songs sounded: ‘The lake of my grief’, beautiful even without the participation of Gara Durán, and ‘I thought that God had touched me’.
If Barry thinks that God has touched him, Zahara “just wanted to write a love song,” but it didn’t come out. ‘Slow tenderness’ is a foggy album, darker than it seems, and its will is to defend it in front of an audience that does not know it, which is gradually discovering it. In interviews he usually says that his current repertoire has more “concessions to his past”, but in truth of the 16 songs that sound, 8 belong to their current work. His great bet is to show the public that women at festivals are still a minority (‘Too many songs’), that happiness is always too far (‘was this life?’), Or that we suffer (‘violence’ is one of the “highlights” of this tour definitely).
Zahara incorporates choreographies on a running tape in ‘Tu Michis’ and auxiliary flight type in ‘Ctrl+Z’, although to tell the truth are his “Greatest Hits” the favorites for the public, at least for the moment. There was a day when, although it was difficult to assume it, Amaia and Aitana sang together ‘with the desire’ in Operation Triunfo, then there was another day that Amaia played her with Zahara with tears in her eyes, and that has a lot to do with the fact that it is the most chanted theme of her repertoire, playing from the absurd of a polyclin. That moment when Zahara grabs the electric guitar to interpret it, interpolated with ‘Zahara’ of Judeline, was the most beautiful of the entire cycle. A polyn had never given so much. ‘Free fall’ with the “Cam Feria” moment focusing to the public, and finally ‘today the beast dinner at home’ and ‘Berlin U5’ raised the fair towards their maximums.
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Perhaps because of how different the artistic proposal was, in the antipodes of Zahara, perhaps because of its plenary coincidence with the aforementioned football game, a part of the audience left the enclosure during the Siloé concert, but the many people who stayed were delivered to the maximum, many of them carrying group t -shirts. Fito celebrated that Siloé had never been the last to act at a festival and immediately challenged: “That the fucking policeman has us,” something that finally did not happen. He also announced that next year after summer, “the best fucking album of the year” will be released, although this time the word “fucking” was not the most pronounced as in others of his sets.
Such merit fell to “Pucela.” Siloé played at home, what they took to harangue men, women and children, while interpreting a series of hits of obvious influence of Izal, heroes of silence and living Sweden. “This is Coachella!” He shouted at one time a phyt come very high, between religious references both in the scenographic and the lyrical (‘Pray for me’), interpolations of Blur (‘Song 2’) and fuss of all kinds. ‘If you need me, call me’ ends with the phrase “What if we send everyone to ass?”, Which has inspired in an unthinkable way a line of t -shirts that it has swept, and the group had the occurrence of exhibiting such explicitly proclamation against Mahou, because the brand had always supported them, even when they had where they fell dead. “We are going to teach the people of Madrid how we do it,” he challenged before the public obeyed submissive, first the girls, then the boys, in the end all together. In this Vibra Mahou Fest contrasts, after proposals as artistic as Zahara, Siloé put the “Lololó” point.
