On Friday at Sònar during the day, among the public increased the samples of support to Palestine with respect to those we already saw on Thursday. And the actions were happening, not to say that they run over. There is a good tail to see Raül Refree and Child of Elche presenting his show ‘Cru+is’. Between blue flashes, Refree and Child of Elche remain dark. Refree puts the sounds, very drone, child sings I am or emits ecolalias, makes vocal pirouettes and the public talks, until someone commands to shut up. Until the fifth theme does not light the artists, dressed in mechanical monkey. They sit down, refuse to take the guitar … and I don’t see the end of the show, because I’m being fried and I have to go to the hall.
Over there, Alva Noto & Fennesz They interpret ‘Continuum’, their tribute to Ryuichi Sakamoto. Guitar fennesz and programming, Alva also notice the programming, both concentrated. Wave waves are projected on the back screen. They develop a sustained ambient, calm but something threatening at the same time. Until they awaken at the pace of heart and operating room. Very interesting, but it is music that requires concentration and there are too much people chatting in the hall. Perhaps it is not a site that invites the introspection that they offer us notice and fennesz. And I have to leave another unfinished concert because I am waiting for the rereading cake presenting ‘that question’ in the còmplex.
The show is a spectacle, very worked in sound, lights and costumes. With another small delay, Reena cake They enter the patio of armchairs which silver dressals. They display their supernatural voices, nature -based effects, various languages. Enter the percussion band for the fun ‘Tenth Hand’ (AKA “Juan El Romano”), which is live is overwhelming. As overwhelming and triumphal sounds ‘El Suïcidi i el Cant’.
For ‘Tamarindo’ they are very funny when they start talking weird, they reproduce what has been said upside down … and we hear how they present the album. But now they get serious, because they start talking. The appointment is not literal and incomplete. I could not record them and noted as I could: “We are living with pain the genocide that the state of Israel is doing in Palestine. We live with pain that a vulture background like Kkr is staying with our spaces when culture care about shit. It is also a good time to make self -criticism.” After speech, music comes back. It is pure magic how the voices in ‘Cant Premonitori’, how everything is red and is filled with estrangement. They close with ‘La Font’, with water and everything bathes of light. A concert barbarity, the best of the festival.
It is so magnificent of the Reena Tarte Concert that this time does not run, and that then touches another of the most anticipated concerts of the day: MARIA ARNAL With his ‘love’ in the hall, I don’t know if he will end up being a new album. It is a little teeth pain that two artists who share artistic instincts and public almost overwhelm. In fact, the Rinian cake were the voices invited on the ‘clamor’ tour. Luckily we enter only ten minutes late and then I have a flashback of the presentation of ‘The Badwinning’ of Rosalía in that same room in 2018. In fact, the proposal is similar in ambition and in the desire to make Arnal one of the greats. It also reminds me of the concerts that Arnal offers for Christmas about ‘El Cant de la Sibil.A’. ‘Ama’ is the improved version.
Unfortunately, I cannot appreciate the show well: I am somewhat far away, I do not see the stage just and there are no screens that replicate the concert for low. Maria goes with a dance body, they develop choreographies, on the back screen there are images and the titles of the songs. For ‘mirror’ I see a Bollywood type choreography. In ‘For your sorrows’ he takes out an organ, sounds ecclesiastical. The pity is that the hall is full of parrots. It doesn’t matter where you try, there are always two (or more) people chatting in full volume.
The best thing is when nothing less than Yerai Cortés appears to play the guitar in ‘Xiqueta Meua’, which is emerging as a great signal song. Tania also accompanies the voices. It is a beautiful traditional ballad crowned by the beautiful Yerai guitar. And, at least for once, the public remains silent to listen to waste size. The silence is little hard, even if it is heard of the scoop all the time. There are effects of spectacular lights. And moments that are pure hedonism. ‘Sigh’ is Synth-Pop Sweet. ‘ICT TAC’ is syncopada, danceable, close to the electronic suffjjan Stevens. Arnal is seen happy and loose at this stage of Popstar. To close, the posterior screen projects “Free Palestine” and Maria and her team display a banner that says “Palestine = Lliure”.
