2023-11-27 06:48:46
Primavera Sound 2023 – Summary day 2
“Yes, it really, really, really might happen,” intoned Damon Albarn in the last chorus of Primavera Sound Buenos Aires. Blur was rounding off their hour and a half show with “The Universal” – which they had to start over once more because they came in at the wrong time in the first verse – as the finishing touch to the summary of their more than three decades of experience. The English were accompanied by a sweaty crowd surrendered at their feet who felt that yes, it can truly happen that your favorite band sings in a city more or less close to your home, giving another spin and another meaning to those indelible songs with the that grew at the same time.
In this return to the country of the iconic Britpop band, local fans had a prominent place. Between “End of The Century” and “Country House,” Albarn asked for a cloth to be handed to him that read “Pupi La Plata” surrounding a beer mug. “This flag traveled with us on tour all this year. And the people who gave it to us wanted us to give it to them when we returned to sing in this country. So, we return it as a kind of ritual,” he explained and made this Bubi come up, who hugged the singer while he recorded everything in selfie mode. “We return it so that the spirit in our hearts and the good relations between Argentina and England continue,” Damon asked and from the field a spontaneous “Argentina, Argentina!”
A couple of songs later, for the ballad “To The End”, another fan named Daniela came up, who sang it on her knees, shocked and face to face with the gold tooth frontman. Yes, something like this can really happen.
Damon Albarn and Blur’s victory at Primavera Sound Buenos Aires
Before, the show had had a beginning almost identical to that of The Ballad Of Darren, their most recent album and the reason why the band decided to regroup following a hiatus: “The Ballad”, “St. Charles Square” – with Damon on piano – and “Barbaric” came out together although barely interfered with by a bittersweet version of “Popscene”.
In order to show their different charms as if it were the last night (which in fact it was, being the last stop of the tour and who knows when they will be together on stage once more) the band expanded and arranged the audio according to what that asked for the songs. In “Beetlebum” – among the sexiest in the entire Britpop catalog – they dismantled the feedback at the end in a sonic zap. On “Advert” they compressed themselves like a punk band that spends a space of 1 x 1. For “Girls & Boys” they stretched the tempo and seemed to shout “you should be dancing” to the crowd. And on the remarkable “Out of Time” they pretended to be a small multi-ethnic orchestra driven by the percussive swing of Dave Rowntree.
A little water to cool off the Blur fan crowdGraham Coxon during his starring moment in “Coffee & TV”Bad Fame? Damon Albarn
Contrary to what can be expected from a festival show, Blur put its most haranguing side first (“Parklife”, “Song 2″) and little by little dismantled that climax with midtempo elements like “This is a Low” , “The Narcissist” and “For Tomorrow”, among the favorites of the most orthodox fans.
Just following the end with “The Universal”, a tape shot “Le temps de l’amour” (Françoise Hardy) that served to melt into the group hug with which they seemed to celebrate the fact that they were together once once more following all. Because, as they had shouted a while before in “Tender”, “Love is the greatest thing that we have”.
A coffee without tea for Alex James, bassist of BlurFans of Blur once morest the fenceDamon Albarn during his excursion to the piano to sing some of the songs from The Ballad of Darren, Blur’s latest album
A while before and when the night was already a fact, Pet Shop Boys got the crowd dancing with a true kind of pop and freedom. The detail was in the clothing of the singer Neil Tennant, who came on stage in overalls and commanded the opening of that kind of LED cage into which the stage had been transformed. And several of that collection of indestructible hits that he built hand in hand with Chris Lowe, the duo’s techno brain, began to emerge. “Suburbia”, “Can’t Forgive Her” and even a medley made of “Where The Streets Have No Name” (U2) and “Can’t Take My Eyes Off You” (popularized by Gloria Gaynor) marked the first stage of the set.
For the darker and more bowling section (“Domino Dancing”, “Love Comes Quickly”, “Paninaro”), Neil changed his teacher’s outfit for a white hat and a black suit that made him look like a two-tone bishop, a piece that in the board moves obliquely, in a manner analogous to PSB’s music if it is contextualized in the history of pop. And when he put on a silver cape, they went to more festive places: ”Go West”, “Always on My Mind”, “Dreamland”.
In the finale, Neil and Chris were left alone, face to face, wearing black overcoats and under some yellowish streetlights with an urban background: pure film noir and without stridency to frame the last two, “West End Girls” and “Being Boring.” .
Beck in the evening of Primavera Sound (Chule Valerga)
The day had been presented as a summer Sunday, almost contrary to the proposal but in any case an ideal setting for the second and final day of Primavera Sound Buenos Aires. In Parque Sarmiento the thermometer exceeded 30 degrees and the sun, without a filter cloud, hit harder than on Saturday. Thus, any element that provided shade was filled with people, while some small intrepid crowds stood in front of the stages as if nothing had happened.
The simultaneous start at 2:30 p.m. of Winona Riders, Juana Rozas and Limón marked the first options for the early crowd that little by little populated the venue. By the end of the night regarding 50 thousand people had passed through here, adding to the 55 thousand on Saturday and the 15 thousand who also bought tickets for the shows scheduled for Spring in the City on Monday (Róisin Murphy, Black Midi) and the Tuesday (Slowdive).
“What’s up, güero?” Beck Hansen greeted as if he were in Mexico and just following burning the ships with “Devil’s Haircut”, the first of a colorful, eclectic, multiform set, just as it has been sounding since the early 90s. A repertoire that, seen in retrospect, sounds congruent with the current era and even agrees with the questioned Babasónico from Dopádromo.
Beck sang his classics and invited Damon Albarn
Supported by a band that adapts to his whims, the singer came out with his curly hair and a navy blue jacket to dance and manipulate as he wanted this band that is a multiprocessor of pop culture with rocker substance. His undoubted trademark includes white funk, hip hop and even electronic music: something that in this case was evident in small classics like “Nicotine & Gravy” and “The New Pollution”. And not to mention when that indestructible hit “Loser” was played, which is already more than 30 years old and still sounds fresh with that chorus half in Spanish and half in English that far anticipated the current boom in music in this language.
Before that and to mitigate the wait, Damon Albarn came out as a guest singer but not to do one of Blur -tonight’s big closing-, but rather “The Valley of The Pagans”, which he signed with Gorillaz. Thus, and with a hot closing with “Where Is At”, the expectation of what is to come increased. On the other side of the venue, meanwhile, Milo J invoked Charly García for the second time at the festival to do a heartfelt version of “The Dinosaurs” with an Argentine flag in the background.
They are under 23, they met at the conservatory, they were sponsored by Anderson .Paak and Thundercat and they surprised the world from their celebrated and colorful Tiny Desk. Domi & JD Beck are an unusual jazz duo made up of the French pianist Domi Louna – overly made up with bright fuchsias – and the Yankee drummer JD Beck – the face of a mischievous baby -, who consolidate a psychedelic groove where nothing is left to chance and continue the sheet music.
Mostly instrumental suites (“Duke,” “Havona,” “Smile”) play opposite each other, surrounded by a pink floral arrangement and an animated background as if the Teletubbies had met in Mad Max. She plays sitting on a toilet, he on the stool of a small, typically jazzy drum set, which she tunes according to the song.
“Music!” JD shouted as if to sum up what his whole journey is regarding and just before they intertwined their voices for “Don’t Rob Me.” As it might not be otherwise in a show that took place in this country, they had an “olé olé olé olé, Domi, Domi”, which caused the only improvised moment, when he accompanied the melody from the pads despite not being the recipient. from the choir.
A selfie in the heights. The public was also the protagonist of the second date of Primavera Sound
“Do you want to do a little mosh?”, Jokingly proposed Natalie Mering, who when she sings transforms into Weyes Blood. “It might be a soft mosh,” she insisted to the general laughter that her occurrence provoked, following a good number of her sweetened ballads and just before another one. She is all in white, with a long dress and cape, she looks more like a Disney princess than a bride, and she dances and sings in front of an orchestral quartet that rotates between keys, bass, drums and guitar. Together, they added layers with just the right intensity and without any intention of breaking the tame atmosphere of the evening to make songs like “Andromeda”, “Grapewine” and “Movies”, with which they said goodbye following throwing white roses to the audience that remained. caught up in its charm.
Carly Rae Japsen (Franco Fafasuli)
Also within the limits of pop, but in an uptempo, somewhat garish tune, Carly Rae Jepsen debuted before the Argentine public within the framework of the festival. She has platinum hair and little silver stars on a spun dress, she is a popstar who is ready to be picked up and accompanied to her high school dance. A mirror ball on the screens suggested to the crowd that she was allowed to dance. And so it happened with songs like “Shy Boy” and “Surrender my Heart”. To get a closer look at her Argentine audience, in “Call me maybe” she went down to the pit and gave kisses to those who were once morest the fence.
Joaquín Levinton and the fervor of each Turf show
“Thank you for putting up with this temperature, son of a bitch. At least it’s not 60 degrees… Yet,” Joaquín Levinton joked following fanning himself at the same time he sang the verses of “Casanova.” If there is a band tailor-made for festivals, it is Turf, who took advantage of their time to compress almost 30 years of hits from yesterday and today.
As always, the singer was brazen and mischievous, a kind of Isidoro Cañones of pop, to sing his vignettes of love, disagreement and joy despite everything. To be closer to the crowd that jumped almost all the time and cooled off by splashing water, he asked a security guard at the fence to make him a cocochito to feel the human warmth at the end of “Bad Decisions” and in “Loco un poco” ”.
Joaquín Levinton’s smile, or the hit machine
Earlier, the Moura brothers and company displayed elegance and experience to perform part of Virus’ golden repertoire. The first big choruses of the day came from current versions of “Sin disguise”, “Imágenes paganas” and “Mirada Speed”. And despite having quenched the eighties thirst of an audience that, in general, seems younger than yesterday, they said goodbye with “Honeymoon in hand.”
Marcelo and Julio Moura proposed a trip to nostalgia with Virus
Before, Viva Elastico showed off their dark and optimistic pop from the beautiful loser perspective that their frenetic singer Alejandro Schuster appeals to. Among songs like “Rebellía y swing”, “Images of love” and “I love you more”, they even released a song called “Metalero”.
Festivals are usually a good occasion for artists to surprise their audiences with unexpected covers. And just like Dillom did yesterday, today the Ryan band once once more paid tribute to Pity Álvarez with a rock version of “Una vela” (Intoxicados), to which they beat “I Wanna Be Your Dog” (The Stooges).
Marcelo Moura at the head of Virus and under the sun of Buenos Aires
Photos: Franco Fafasuli and Chule Valerga
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