First night of festival and boat sensation soon: if the level shown on this first day of spring Sound remains we can be facing a historical edition. There was physical tension with idles, extreme elegance with Cassandra Jenkins, diverted dance with Barker and contemporary singer -songwriter with Kelly Lee Owens. And much more, because each festival has as many paths as assistants, but the truth is that the artistic level of the day was remarkable.
Now, put to highlight two names, both are English, both of women and each one expresses two visions about electronics and one similar on the show, which in both cases is based on their figure. Yes, purists of the abstain musical interpretation, neither one nor another had musicians on stage, well Fka Twig had one operating a table from which the whole music came out, while the other sang to a dry stick on bases that did not see where they left. One is called FKA twigs, the other Charli XCX and their shape melted the ploms of the crowd.
The Charli XCX was expected, the pluscuamperfecto pop hybridized with the electronic rough rough club and a background message destined for the girls encouraging them to be “Brat”, malotas. To compensate was Troye Sivan, who although it was also supported by electronic bases, presented a more sweetened, more traditional and rounded pop. And if one looked at the girls, the other to the boys, to whom leaving the subtlety in dressing rooms greeted, in Spanish, only time he used it, pulling a sound “How about maricons?” By dedicating them Bloom.
He was in charge of opening this concert to the alimon with Charli through an unbeatable triad: Got me started, with a fellatio simulation that would not be the only one; What’s the time where are you arewith a phrase that sounds in the piece, in Spanish, and that summarized the show-“last night, a fucking madness”-and My My Mywhere it was counted and for the first time of a long list of occasions, it was paid what leaving the correction aside we could call the package. Yes, a carnal party, a happy celebration of sexuality, a hedonism with the body as a temple of celebration and identity: an open liberation.
Charli did not rely. To understand how she was dressed in her first trio of songs, the unbeatable 365, 360 y From Dutchstylism notes. Confirming a trend that has been perceived for some editions, with the festive lingerie, theirs and theirs, the same thing happens as with the Spanish political class, it is polarized: or it shines significantly for its absence or its presence results in extreme striking.
Charli took note, or her chichas, and went on stage in what the mothers of the concurrence would call underwear. With boots, high socks and sunglasses. Unlike Troye, who danced accompanied by dancers, Charli was always alone on the stage – less when they both sang together – and made his firm step when traveling under the scaffolding that focused the scenery the physical note of the rhythm that below promoted her, guiding her. And sang in From Dutch “I’m your number one”And the dough nodded. Yes, it was the star. Drunk to the dry stick. What charism!
He show He composed of five folded acts in which the tension went down with Troye and his sweet ballads as dates, and came up again with Charli’s outburst, a rhythm factory to splash in the club. Difficult to overcome the duo 365interpreted again, next to Piouswith the track jumping like pebbles on a conga in action, or with 1.999 And his novelty aftertaste, but it turns out that there would still be more madness, because in the eighties Applea camera took the image of Chapell Roan dancing like crazy near the stage with Charli taking steps accompanied with the hype, fast on stage. Shouting. The thing ended with Talk talk and the nth mass gambling. About thirty issues to scan happiness on the Z generation that populated the esplanade. The elders were stunned.
A similar triumph achieved FKA TWIGS in another way, much more sophisticated, extremely plastic and assuming improper risks in a festival performance. Say your pass that your pass, prior to Charli but at that time of the night in which the personnel who wish has already been stimulated, resulted from amazing containment and capital sophistication. The scenario represented the square structures of a warehouse, empty, metal squares without walls, a huge regular mecon. Its coloration always remained in black and white, only mottled by the red skirt that FKA wore at the end and for some reasons, also red or green, which were projected on the back screen.
The mixture between euphoria and sex
In that context, Cheltenham’s artist began with rhythmic force and those pieces that as Room of fouls They evoke Björk. Then it arrived Striptease and his infectious melody with the derivative Drum & Bass of the end, he kept the pulse, as later the precious and gradually accelerated Eusex “Thermal that expresses the mixture between euphoria and sex.” But little by little, in a very subtle way, the songbook was sliding towards the pause, to the extreme that concluded with FKA alone on stage, with the red skirt, singing with vocal precious a ballad like Cellophane. From more to less before a crowd, from the dances to the motionless in 15 themes for greater glory of a portentous domain of the tempo and the dynamics of a recital. A true tamer.
That Fka Twigs sings wonderfully is known, that his vocal record reaches acute to requested without apparent effort is noted on the discs, which is capable of being subtle without losing the presence too, but it was not so clear, although he imagined, that he danced so well and that his mastery of the stage was able to submit even in silence, only with his gaze. In fact, the show was choreographic, but not based on pop jumping movements, but with a plasticity in the evolutions of pure ballet. She herself, alone in a bar in the heart of Striptease, showed her flexibility and elegance concentrated the looks around the world, and heading her dance body, she had no way of what her companions executed. With a charisma pregnant with mystery, pure animal magnetism, it allowed the luxury of leaving the micro while its voice continued to sound, to resume it later and continue singing.
The concept of interpretation went beyond voice in search of a total show in which music, movement and environmental chiaroscuros merged into a sinuous music where there were rhythm and bluesthe dragged step of trip-hop, art-pop Non -expansive, and rhythms invite dance from an almost avant -garde perspective. A spectator, surpassed by what I saw, cried. It was not for less, everything and that the context did not help when the public is in an open space is very communicative.
Nor did he help Cassandra Jenkins who owns an adult pop repertoire simply beautiful. Cassandra has a delicate voice and at the same time that she binds almost as if she caressed the air, as if she was ashamed to expel the words, which did not help in a context with a certain environmental noise. He based his repertoire on his last two albums, phenomenal the pieces of the album that made it known, An overview on phenomenal natureand at all times the pass lost with which two years ago, in spring in the Ciutat, he offered in the intimacy of the old Sidecar.
On the contrary, the crowds laid an Idles well, a hardcore punk band, if you want to add the particle postmade for the masses, that in the face of the stage, in the most delivered sector, it generated shoves and jumps looking for collision, pogosphysical finds without punch. By the way, if you want to seem modern, replace pogowhich sounds like a punk before, by mosh pitnew word that says the same.
Speaking of words, idles, a very socially and politically aware group, with the appearance of rude boys – less their guitar, who wore a striking combination between hussar mustache and miniskirt dress with brilliant – make very steep letters, such as that of Motherone of the issues that sounded in their pass: “Sexual violence does not begin or end with the rape / begins in our books and behind the doors of our school / men are afraid that women laugh in their face / while women are afraid that men take their lives.” They were the ones who remembered Palestine and Gaza’s genocide. With the strength of a voice that shouted.
And for Rare noticeBarker, with a pass from techno Without hype, but with some unpredictable serious, we had to see how the public danced Maximun utility And with Kelly Lee Owens, who, with two keyboards on both sides, yes, like the Nacho Cano most Wagnerian, he mixed lyrics and club music in a pass that focused on his great Dremstate duly accelerated for a festival pass. Output of the enclosure, with the workers of TMB, capeing the problems that the Festival’s application dropped to pay the launches ticket, a shirt that summed up part of the spirit of the night. The lucia proud a young local and said Make America gay again.