There were doubts about his style. concert to present Nick’s Cave on this Saturday Spring Soundtaking into account, the last tragedy experienced by the singer, the death of his 31-year-old son, Jethro, on May 9 after dragging his story of a mental disorder (and it rains: Cave lost 15-year-old Arthur in 2015 when he fell off a cliff). But the Australian bit the bullet and she poured out all her suffering, grief and anger in a true, cathartic concert with some interventions in the airborne mystery of their most crushing classics and latest 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 a preface, The rescue cry of ‘prepare for love’, he entered the stage with the horsemen of the apocalypse, bad seedsDropped by two songs from the album ‘Abbatoir blues / The lyre of Orpheus’ (2004), this track is augmented by a vocal trio that accentuates the gospel tones.
by physical contact
There was the preacher reaching the hands of the participants in the first row, looking for direct contactand next to him like slaves multitasking monster named warren ellis, strumming an evil violin. Shakes from another era, like ‘From it to eternity‘, with its diabolical babble and post-punk fanfare.
The difference of the cave compared to other times has been revealed. excerpts from their last albumespecially the supernaturalghost‘ was marked by the death of Arthur, who missed a subtext of doubly increasing intimate pain. promise for ‘shiny horses‘, in haunting lines to the accompaniment of Ellis’ pathetic howls (“my son is coming home now on the 5.30 train”). and what about ‘I’m waiting for you’ is another sad piano song. This series has expanded it’carnival‘, the title track of his half album with Ellis, was marked by the collective trauma of the pandemic.
beyond death
But Cave didn’t forget that he was at a macrofestival, and the best-known numbers of his repertoire dominated the second block. Beyond the tomb of the ‘red right hand’ the bells ring, the ‘crescendo’ vigil of the ‘seat of mercy’‘ and even a distant date, the eighties’your hair‘. And that flaming ballad that answeredship song‘. With the overwhelming authority recital of this tour (starting Thursday in Aarhus, Denmark) it seemed like Nick Cave wanted to tell us that he was there, defying his destiny, and taking his art beyond death.
If it was Cave’s job to lead hours before midnight to shake the ground (or even the mood) of the festival, the same scene was welcomed. Blixa Bargeld, one of the most charismatic former accomplices at the head 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 Collapsing’ modulated their extreme art on their latest album, ‘all in the world‘ (2020), so much so that ‘set’ revolved around a graceful dance of electric cracklings, airborne mediums and the narrative voice of the sinister angel Bargeld, all in black and glittering on his eyelids.
industrial hardware
The theatrical touching session of a dystopian Berlin cabaret revolves around a repertoire of serious tones.processing signals from krautrock and concrete music and metal sheets and pipes (in ‘Zivilsatorisches missgeschick’) and in the replayed ‘Sonnenbarke’ the scrapes of the brush on a mechanical lathe are in the ‘underground’ where ‘light seeps through the 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. junkyard gadgets factories and dumps, ‘Seven screws’ and ‘How did I die?’ to create restless calm sequences such as
other sunset charm Jorja SmithEnglishman with a lucky star thanks to his meaty neo-soul voice and his balanced repertoire 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 growl from the south, Maria Jose LlergoGrowing up in Barcelona’s Esmuc, he embarked on a recital from Pozoblanco, Cordoba, that started with the flamenco orthodoxy attached to the guitar. Mark Lopez (an attack on ‘Mira que tú tú linda’, which evokes traditional tango and Machín) and later incorporated fine electronic patterns.
A theatrical stance with a red dress with a very wide skirt and elegant melismas. the joy of fans and passers-by. 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. Profiles as ‘jondos’ Ultramodern for this Spring, which still has a week.