Fifty years ago, Joaquín Sabina was chasing a life that felt just out of reach. He began in London as a waiter or announcer, later as a commissioned poet, and a hint of devotion still lingers for the city where the artist who is known today first honed his craft. In 1970, at twenty, he faced the final blows of Francoist Spain, learning the trade on the street, on the subway, and in the roughest neighborhoods, sometimes even jokingly pretending to be Mexican and singing Cielito Lindo. In those days, he could hardly imagine one day performing for audiences at the Royal Albert Hall.
As part of his Against All Odds tour, the songwriter delivered a powerful concert at the Royal Albert Hall before a devoted Hispanic audience, weaving reflections on destiny and mortality with his most beloved songs.
Thus, the British stop on the Despite Everything tour this Friday marked a milestone in Sabina’s career, coming three years after a real setback that paused their last date. In a metaphorical echo of the unreleased song Sentiendo lo mucho, the performance balanced between time and mortality, with Sabina joking about the distances travel imposes and the moments when the “cartridge” of life seems spent, yet still finding space for song.
be proud of the environment
There were still quiet moments to savor: the first portion of the concert featured pieces such as When I Was Younger and I Deny Everything, performed with a striped jacket and a bowler hat inspired by British MPs. He sat in a chair, sometimes almost reciting, letting his deep, weathered voice carry the room toward a resonance that drew him closer in mood to Tom Waits. The Royal Albert Hall, a grand space with full capacity, offered an unexpected sight: an audience that was overwhelmingly Spanish, with both Spaniards and expatriates sharing pride in capturing the British capital for a single night.
The image of the performer returning to a familiar theme reappeared in Por el boulevard de los sueños ruptos when he noted that the hardest part about aging is losing friends along the way. The moment was not about mourning but about celebrating life, and the setlist shifted with the rock edges of Llueve sobre mojado, threaded with a chorus that carried a distinctly Argentinian cadence. The performance carried the imprint of Fito Paez, a reminder of the collaborative spirit that colors Sabina’s long career.
spoiled by the gang
Sabina moved with careful assurance, surrounded by seven musicians who wrapped him in sound and offered well-timed breaks for focus. Mara Barros and Javier Asúa stood out among the guitarists, while Antonio García, the versatile keyboardist, played a central role in the live arrangements. Borja Montenegro, a new presence on this tour, stepped in to fill the space left by Pancho Varona, introducing Sabina with concise, respectful words and noting that fresh energy can refresh a long-running show. The mood was one of warmth and reverence for the craft, with the band providing a polished backdrop to Sabina’s storytelling and performance—an ensemble that felt more like a well-oiled Rolls-Royce than a routine backing group.
Although the concert typically unfolds in a single, continuous arc lasting a little over two hours with twenty-one songs, a half-hour break was taken in alignment with local pacing and scheduling. When Sabina returned, he offered a set that included So Young and So Old, a piece that acknowledged questions about his vocal future and the shape of his career. Even as a later-era act, he found ways to balance vulnerability with the vitality of his stage presence, never letting transcendence overpower the show’s humor and festive energy. In a memorable moment, a reading of the poem There Is Nothing Around—recited in his distinctive cadence—turned the hall into a space where body and senses became part of the performance: the bow, the eyelashes, the pupils, the tibia, the nose, and even the clitoris as a symbol of shared humanity. It became clear that the performance was a statement about homeland and belonging, a reminder that the Royal Albert Hall could still feel intimate amid grandeur.
The concert’s climax looked back toward catalog touchstones like 19 days and 500 nights, Princess, With You, and Wedding Nights, underscoring that Sabina’s career is built on a long arc of love and resilience. The night offered more than a simple music show; it presented a living narrative that hinted this chapter might endure, even if it someday reaches a natural close.