The Act X Palestine concert, held tonight in Barcelona, has been a clear example of the confluence between different struggles. Although the Palestinian cause was the central axis and the reason for the collection, we have seen Ana Tijoux wearing a “Fuck ICE” t-shirt, the Palestinian Lina Makhul remembering Sudan and the Congo, or heard support for the victims of the inhumane eviction of the B9 in Badalona and all oppressed people in general. The concert, beyond its good organization, has managed to be warm, something that is not always easy to achieve in charity events like this one, where artists of all kinds parade, one after the other.
The event, held at the Palau Sant Jordi and divided into events, had a montage inspired by a Mediterranean square and alternated musical performances with speeches and projections about the genocide in an entertaining and agile way. Messages about the artificial divisions of the world, about technological surveillance – with an applauded Lluís Llach – or images of families devastated by the conflict have transmitted many more messages – and very necessary ones – than that of the liberation of Palestine, which is already important enough.
Pep Guardiola was in charge of opening the event and, after his words, the artists appeared one by one. Amaia, one of the main attractions, has offered a beautiful piano performance of ‘Nobody Could Do It’ and ‘I Have a Thought’, and has expressed her satisfaction at “being able to contribute my grain of sand.” Combining national and international names, it has not been as strange to see Zaho de Sagazan and, a while later, La Zowi, as it has been to see Guillem Gisbert and Mushka together presenting their cumbia in the best way they could, with Mushka sitting in a wheelchair after suffering a sprain.
Although I personally wanted to see Aurora – who has also sung her beautiful song about Palestine on the piano and whose presence at the event had been announced the day before -, the moment of the night was starred by Rosalía, who appeared unannounced to sing ‘La Perla’ acoustically. Accompanied by a small band of musicians -guitar, choirs and clapping-, the author of ‘Lux’ has played with the timing of the song and has used the famous bridge of “not referring to him as an icon” to thank him for the invitation, underlining the “honor” of getting on that stage, precisely. Criticism of Rosalía’s political “lukewarmness” should ease from now on. At the very least, no one will be able to say that Rosalía does not support the Palestinian cause, or that she plays with ambiguity.
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Honor has also been ours to receive on stage personalities such as the activist Arab Barghouti, son of the influential Palestinian leader Marwan Barghouti, imprisoned since 2002, or Natalia Abu Sharar, president of the Palestinian Community of Catalonia, who has launched an emotional message of resistance: “They steal our houses, but not our memory; they burn our lands, but not our roots.” There is no choice but to remain united in the midst of a genocide that neither respects the ceasefire, nor – by the way – has ended, since it continues outside the media spotlight.
The concert, which has highlighted the presence of Palestinian names like Zeyne – who has plans to become a global pop star – or from other places like the Tuareg, where the band Tinariwen comes from, a real discovery for whoever writes this; It also had the announced presence of Bad Gyal, another of the most anticipated artists of the night. Bad Gyal performed ‘Fiebre’ without going crazy dancing, given the context, before giving way to Morad, who sang first with Farelo and then alone, walking from one side to the other with the Palestinian flag.
The concert sold out just before it started and was an artistic success. In fact, it was already being that way before Rosalía and it would have been that way without her. Their presence, however, has served to reinforce and make visible the importance of the demand that had brought us together there. But we would not have forgotten the fun dabke of Fermín Muguruza, the chanted pop of Oques Grasses, the violin and flamenco of Laura Pacios, the piano of Clara Peya or the experimental theater of La Fura dels Baus in a dystopian style. All of them have entertained while reminding us why we were there and why we will continue to be there.
