if he Spring A performance was needed that would unleash the party without reservation and on a grand scale and invite the public to forget the crowds and queues, this Friday this Friday Mr. beck hansentook the most crushing and funky ‘show’ imaginable up its sleeve. Special bolo for him too. “It’s my first tour since 2019 and with a new band,” said the Californian, who will try to intensify the energetic show at Razzmatazz, a club within the Primavera Ciutat program this Monday.
last album, ‘hyperspace’Released just before the pandemic, it featured relaxed tones and a certain futuristic desperation, but for this tour, beck chose to offer something more physical and festive. It’s going well. It was evident from the start with ‘Mixed bizness’, a memoir of the album ‘Midnite vultures’ (1999) linked to ‘Devil’s Haircut’. ‘Event’ (1996), with the cowboy harmonica touch.
The script focuses on ‘best hits’ and a ‘funkadelic’ Beck, who wears dark glasses, clear on a rock guitar, and moves among the neon lights of the eighties disco. An uninterrupted feast of chained songs: pieces from his modern works such as ‘The Valley of the Pagans’, which he recorded with ‘Dreams’ and Gorillaz, and from those boom times, for example ‘Nicotine and sauce’ or ‘Hotwax’, his chorus is in Spanish: “I have a broken record / gum in my brain”. ‘Everybody’s need to learning’, a hit by The Korgis in 1980, had acoustic guitar in hand and quiet scenes like this version. ‘Lost’ recoveryA ‘great’ remnant of the grunge era, with its tragicomic nihilism (“I’m a loser baby, why don’t you kill me?”) has now turned into a joke for the general song.
What followed was Beck’s triumphant return. 22 years of absence in Barcelonaoffshore platform that dominates an area, previously housed a fluid passage Fontaines DC, with its technique and angry post-punk digestion, at the service of safe cards like the flashy ‘Skinty fia’ and ‘Boys in the Better Land’. it happened there too manualThe electronic and narrative shadows of ‘Formigues’ or ‘Jo Competixo’, the Machiavellian ‘Per la bona gent’ and ‘Al mar!’ and ‘Benvolgut’.
The public tide was steady, and security workers diverted streams and closed steps here and there to prevent crashes (or attempts). Two concerts taking place on the same stage, Binance, Weyes’ Blood and Amaiareflected the coexistence of two audience bubbles: the international, which dominated the concert of the Californians, and the domestic, the very dominant of the Basques. Both recitals are subtle pop contours and a certain rise as a songwriter from another time.
The presence of neoclassical airs, Natalie Merling (Weyes Blood’s real name)With its legacy of soft-rock tradition familiar to Laurel Canyon, it is the bearer of open and evocative melodic lines to subtle twists and bold solutions. White suit and aura of a ‘Hollywood’ actress, but her repertoire is not limited to glitter and aims for transcendence. He says he aims to compose a timeless and magical song like ‘Stardust’ by Hoagy Carmichael and that the songs on his latest album ‘Titanic Ascend’ (2019) are on the way.
‘A lot will change’, there was an elegant piece about changes in adult life and childhood longing, modern love called ‘Everyday’ and a beautiful number about the glorious ‘Andromeda’, warm and clear sound. He incorporated an old landmark of The Hollies, ‘The Air I Breathe’ into his own world, then closed it by throwing flowers at the audience in the dreamy ‘Movies’.
Similar Amaia, a creature spoiled by Primavera before her debut albumdefended this pop with electronic fabrics, although it was defended by a group that nurtured the beautiful recent ‘When I don’t know who I am’ produced by Alizzz. From ‘Welcome to the Show’ to the single ‘Speaking to Dilo’ and from there to the piano in the little classic ‘El relámpago’, which he sings in clean and childlike calligraphy.
The way he presented himself to the public still has traces of innocence and informality in his character. “I am very happy because this is the concert where more people than I know come to see me,” she said. “I wasn’t quite prepared for what I was going to say, but hey, I’m improvising.” And so, this sincerelyWith ‘Yamaguchi’ and ‘La cancion que no Quiero singarte’, it was followed closely by a competent group very close to jotero folklore evoking distant loves.
And another heavyweight of the day, Low, Auditori Rockdelux overflowed like Kim Gordon on Thursday, causing massive queues. There is a group with a history of about 30 years living here. a certain state of grace after the last album cycle. From the newest of these, ‘Hey what’ (the best international album of 2022 according to this newspaper), the songs are mainstream, carriers of that extreme touch of Alan’s darkest mechanical texture and the purity of Alan’s vocal harmonies. Sparhawk and Mimi Parker.
A musical language that Duluthians bring to the stage with all their might, emphasizing silences, interruptions and spiritual climaxes. They applied this to ancient songs, such as a solemn ‘Not Understanding’ rising above seas of distortion, and to past songs such as the mystical ‘Sunflower’ with celestial voices. poetic transcription of a particular funeral tone. A serene and adventurous ritual at the opposite pole of the idea of festive relaxation. But that’s what Primavera is.