There were doubts about the tone of Nick Cave’s concert. this Saturday at Primavera Sound The last tragedy experienced by the singer was the death of his 31-year-old son Jethro, May 9, after dragging a story of mental disorder (and it rains: In 2015, Cave lost 15-year-old Arthur when he fell off a cliff). But the Australian bit the bullet and she poured all her pain, hurt and anger into a cathartic concertTrue to its core, some forays into the floating mystery of their most crushing classics and recent albums.
Cave has always argued that for art to be real, it must hurt and go deep, and has never been so stressed about reasons to give real meaning to his music. Without making an introduction, he entered the stage with Bad Seeds, the horsemen of the apocalypse, to the rescue cry of ‘Get ready for love’. emphasized gospel tones From the track where two more songs were dropped from the album ‘Abbatoir blues / The lyre of Orpheus’ (2004).
by physical contact
There was the preacher reaching the hands of the participants in the first row, looking for direct contactand next to him are the multitasking monstrous minions named Warren Ellis, who strumming an evil violin. It swings from another era like ‘From eternity to eternity’ with its diabolical babble and post-punk fanfare.
The difference between the cave and other times was made with quotes from their last album, particularly the supernatural ‘Ghosten’ that was marked by Arthur’s death, missing the subtext of the doubly-increasing intimate pain. Honorable mention for ‘Brilliant horses’ with smashing lines (“My son is coming home now on the 5.30 train”), pathetic howls Ellis’s. What about ‘I’m waiting for you’, another sad piano song. This sequence was expanded with ‘Carnage’, the title track of his half-album with Ellis, marked by the collective trauma of the pandemic.
beyond death
Cave didn’t forget that he was at a macrofest, however, and the most recognizable numbers in his repertoire dominated the second block, among the bells beyond the ‘Red right hand’ tomb, the paroxysm of ‘in crescendo’. The seat of mercy’ and even a distant history, the ‘Tupelo’ of the eighties. And the flaming ballad that answers the ‘Song of the Ship’. The second of this tour (starting Thursday in Aarhus, Denmark) is the recital of overwhelming authority, which Nick Cave seems to want to tell us. there she is, standing against her destiny and taking her art beyond death.
If it was up to Cave to shake the ground (or even the mood) of the festival by leading up to midnight hours earlier, the same scene greeted one of his most charismatic former accomplices, Blixa Bargeld, at the beginning of Einstürzende Neubauten. A macabre work with its roots in 1980s Berlin, it is the home of avant-garde and post-punk industrial impulses. The band ‘New Buildings in Collapse’ modulated their extreme arts on their latest album ‘Alles in allem’ (2020), so the ‘set’ is drawn around a fine line. dance of electric crackles, floating mediums and narrative sound Portrait of the sinister angel Bargeld, dressed in black and glittering on his eyelids.
industrial hardware
Session with a theatrical touch, like a dystopian Berlin cabaret, around a repertoire of solemn tones, processing signals from krautrock and concrete music and featuring the squeaking of metal plates and tubes (in ‘Zivilisatorisches missgeschick’) and the friction of the brush. In ‘Sonnenbarke’ the mechanical lathe is in the ‘underworld’, where ‘light seeps through cracks’. The group showed that their search is now more calm, avoiding sensationalism, and still trusting respectable people in the midst of the digital age. mechanisms taken from factory junkyards and landfills ‘Seven screws’ and ‘How did I die?’ to create restless calm sequences such as
Another attraction of the night was British star Jorja Smith, who had a lucky star thanks to her meaty neo-soul voice and her repertoire balanced between silk and sensual rhythm. transmitted grace and a certain conservatismAfter a Sade or the first Erykah Badu with their ‘funky’ guitars, jazzy twisted pianos and functional choral reinforcements. It was based on the still unreliable album ‘Lost & Found’ (2018), whose goals were ‘Be Honest’, a dynamic ‘up-tempo’ number and ‘On My Mind’ with an acoustic start. , and some excerpts from last year’s epé, ‘Come back now’.
ultra modern flamingo
And in the full parade of overseas stars, a familiar groan from the south, María José Llergo’sFrom Cordoba, Pozoblanco, who grew up in Barcelona’s Esmuc and entered a recital that began with the flamenco orthodoxy attached to Marc López’s guitar (an attack on traditional tangos and the Machín ‘Mira que tú eres linda’). thin electronic bezels included later.
A theatrical stance with a red dress with a very wide skirt and refined melisms for the delight of fans and passersby. His ‘Healing’ (2020) was once somewhat clouded by the pandemic fog, but life goes on: the popular ‘Soy como el oro’ and the song he released last year ‘Que tú love me’ have been rescued. The profiles are as ultra-modern for this one-week Spring as they are ‘jondos’.