After the opening days which offered flawless performances by Pixies, Jack White and another superlative by BjorkFinally, Primavera Sound made its festival debut at the Costanera Sur.
Faithful to its original philosophy, this Barcelona-born event presents a sophisticated lineup that includes high-voltage pop numbers and other acts that appear as precious multicultural rarities that somehow reflect the atmosphere of the city that saw it born, all accompanied by a very good level of sound and production.
Because beyond the fact that the location has everything the festival goer needs (at this point almost a new Argentine urban tribe), here the audio and the versatile artistic proposal really play a very welcome role for those who attend these type of events looking for more than a social moment.
To consolidate this feeling, it was enough to take a walk at nightfall on Saturday through three of the five stages distributed throughout the venue, which attendees could easily reach by locating themselves through the festival app.
Involuntary architects of a sort of sensorial and super-diversified Tower of Babel, the British Charli XCX rocked her polyvalent pop while the Chilean Föllakzoid offered their experimental, androgynous and ingenious journey while the German Uwe Schmidt (aka Mr Coconut) commanded his orchestra that covered Prince, Daft Punk, Kraftwerk and Eurythmics right down to pure Cha Cha Cha and mambo.
Soon after, one of the biggest names in the festival was present on one of the main stages. Ernan Cattaneo presented his live show with Oliverio Sofía and Alejandro Carr.
True to his lineage as a serious and devoted performer, Cattaneo based the success of his performance on his excellent command of musical moods. Although he had limited time to show his proposal for him—his sets can only last four or five hours—he gave the climates time to develop naturally and thus achieved those emotional explosions that his audiences needs like water.
Forming a real live musical laboratory, the trio created an elegant and itinerant set in which the sound waves penetrated the entire face of the thousands who, with their eyes closed and a pleasant gesture, abandoned themselves to the journey.
Before closing his performance, Cattaneo gave several “pop” winks proposing a completely disguised version of blue mondayfrom New Order, another from the subject of Blade Runner de Vangelis -much better known as “the one from Primo Calcio”-, to close with the always exciting Heroesby David Bowie accompanied by Richard Coleman, who this time sang it in its original English version.
shocking
It was time for the big close of the first day with the multi-popular ragpicker travis scott And as expected, the impact has been large.
The Houston rapper’s stage appearance was literally a tsunami of the entertainment world: fireworks, images that offered a clarity that the human eye itself cannot credit, Scott leaping madly on a round platform that rose to the stage and the poignant sounds of their DJ. the field explodes with adrenaline.
“ARGENTINA!” she shouts in a broken voice at the delirium of the crowd, asks “Who is the most placed in the hall ?!” and continuing with the notion of big impact at all costs, she doesn’t hesitate to drop the hint The tallest in the roomhis mighty hit amassing more than a billion stream listeners.
The audience tries hard, Scott doesn’t believe his eyes, interrupts the song and his DJ makes it clear that everything is fine: “It’s a party, my Nigga!”.
They continue with another bastion of their repertoire. Butterfly Effect proof of the live contrast of what the studio’s proposal is: here the cannabis transit of the original production is adorned with vocals -afflicted with autotune, yes- methamphetamine and almost hardcore.
For look at the stars the scenery takes center stage on the music and the beastly platform on which Scott began the show with literal tours in height, reinvents itself on screen and is the leitmotif of a truly mass psychedelic flash.
For carousel asks for the first “to lower”, the moment in which the audience bends down and is imprisoned by the nostalgia of the arrival of the rhythm that will free them to return to their natural state, to the physical code of the show: that of always being 40 centimeters away from the floor.
Encores are coming, and the 31-year-old rapper is once again reminded of the importance of rocking: his mega hits SICK MODE Y goose bumps close the list and reach the soul of their fans, the pogo is crazy and the happiness generated by this particular way of venting anxiety spreads on the pitch and towards the exits. Mission accomplished.
POS
Source: Clarin
