When he devised ‘Jesus Superstar’, Rigoberta Bandini came an image of a housewife that was afraid. A woman “charismatic, magnetic, but who can kill you.” Perhaps close to ‘Mom’s murders’ by John Waters, he reflected: “I find it interesting the danger of the feminine behind all that hyperfeminization.” This character was undoubtedly the one we saw last night taking a Movistar Arena almost full at 8:45 p.m.
The artist broke into the stage, decorated with giant red curtains, with a blonde wig and a yellow gabardina, accompanied by half a dozen choristers and dancers, with exhausted battery doll steps and a certain “cringe” gesture. They sounded tirelessly, hilvanadas despite its multiple stylistic differences, the Latin medium ‘hahaha’, the pizpireta “Club Xavalas Sades” and the very “sympathetic but problematic”.
Speaking of “Cringe”, a more problematic presenter than nice, appeared irritating, confusing the name of Rigoberta Bandini, simulating an unbearable television contest in which the singer had to compete.
There “Jesusrista” exhibited a more acoustic record very celebrated by the public (‘in love’) and another more danceable as required by the unpleasant presenter. In between, the heroine of the show was able to freeze the unbearable guest during an entire issue that wanted to interpret, ‘toast!’ Then, he gave the success ‘In Spain We Call It Soledad’, and the delirium of the 14,000 people was a lot.
This first half hour of concert summed up what we were witnessing: a presentation of almost all the songs of ‘Jesus Superstar’, except those that due to their character “Spoken Word” or Raruno do not hit in an enclosure of these characteristics (‘Star’, ‘Every day of the week’), raffled from time to time by an old hit. It is very hard to compete with the success with which Rigoberta Bandini became known almost 5 years ago. Today it seems that ‘bitch’ was composed only for more than 10,000 “Girls & Gays” to end up chanting in a stadium “I want to be a bitch.” ‘Let’s see what happens. ‘Too Many Drugs’ before Bis was as intense and beautiful as ever.
But in front of them, the new songs resisted the envy thanks to a careful, retro, the most elegant scene, what the hell, thanks to their quality. The decorated at first had a clear 70’s flavor, halfway between the mythical American program ‘Soul Train’ (the warm colors, red, orange, roses and yellow), the performances of the first Raffaella Carrá, and the Girl Groups predominated. The choristers and dancers, led by the applauded Memé, known for the essential series ‘self -sufficiency’, were much of the show auped in empowered (Sorry) circular platforms. Massiel’s ‘love’ adaptation is, logically, the theme that benefits most from this format.
So simple ideas clearly enhanced songs that one day seemed weaker, especially ‘if he died tomorrow’, with that great moment when the girls push the bed on which it seems that Jesus was going to die, reviving it; or ‘Pamela Anderson’, whose “Pam-Pam-Pam” is pure live energy, and which flows into a beautiful light effect on screens, type ofness (© David Bowie). It is a pity especially for Luz Casal, but nobody came up to criticize that they did not come out guests – Salvo Carmen Lancho in ‘You will learn – because the show is already worth its price – and probably something more – by itself.
Among those things that happen, we must talk about Esteban Navarro, which at first marked an instrumental medley to the keyboards, about which the public squealed things like ‘You can count on me’ from Van Gogh’s ear. And in the end he ran down the stage in circles while shouting unintelligible things in Catalan. He also made a comment about Madrid, of those that are especially uncomfortable since Ayuso invented Madrid nationalism, in case we no longer had enough prominence. After such boasting dandruff, nobody is right to guess where irony begins and ends. But the sure thing is that Rigoberta enjoyed the concert almost more than us: “I still don’t think this is happening,” he said. And he said: “You are the best public fucking in the world!”
The concurrence of more than 25 songs in the Setlist produces that many are cut, new and old, sometimes producing a certain frustration. “Please do not cut it!” He complained a girl behind my back when he began to sound ‘like that.’ And there was no luck. But the new arrangement is great in some, to highlight the choral moment of ‘Julio Iglesias’ before ‘Bitch’.
The show closes with the bis of ‘ay mom’, which ends up receiving a huge, very long ovation; And the most entrenched hit of this era, ‘I am looking for a center of permanent gravity’, with an exultant Esteban. Then, an outro sounds with ‘Abraxas’ only for people to sing «Jesus Superstar, Superstar», and little by little a collective karaoke of foreign hits of Franco Battiato is incorporated and then ‘Give Me Hope, Jo’anna’… because why not. What times those in which the songs that should be.
It gives the feeling that with very little work, with a small script, ‘Jesus Superstar’ would be a huge musical, not just a great concert. Rigoberta Bandini has dispensed with creating a story and giving a whole narrative sense, even if it was somewhat forced. Worst things have seen in the theaters. At the moment the artist’s option has been to present her new and old songs in Totum revolutionum plan, which includes the occasional scare, such as the passage of ‘If I died tomorrow’ a ‘La Pulga on the couch’.
If there is a common link, it is almost always related to femininity, as the name of the indicated era itself, and the success of ‘Kaimán’ certifies. “You are a fucking reference!” He had shouted a fan who had approached the micro in the first rows. Girls also spoke. They also talked about tanned mothers who had accompanied their daughters. The image of Jesus distributing and taking little suits in the first rows while interpreting ‘Amore Amore Amo’ will be the most remembered of this tour without being the most elaborate or meditated. It is the photo of an artist with an audience to which he has given exactly what he needed. Pure Herstory. 8.5.
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