With audiences filling the immense San Isidro Racecourse from earlier on Friday, which was a working day, the mega-festival Lollapalooza Argentina once again summoned 110,000 people on Saturday willing to enjoy twelve hours of recitals and experiences.
On the second day he had a again scorching sunfew clouds and few shadows, but nothing conspired against the succession of great musical moments, starting at 12:30, when the Argentine got up Cheeky girl at the Perry stage, one of four large prosceniums set up on the property.
In their own way, each with their own style and personality, all the artists gave great performances, but there is no doubt that the great figure of the day was the British Yungblud, who sang at 3.45pm on the Flow stage. Of course, there was also the show of the always impressive Twenty One Pilots and the Bresh party, which together with Mora and Jane’s Addiction crowned the last stage of the day.
To imagine Yungblud’s style and aesthetic, let’s take the youthful spirit of the early Arctic Monkeys as input and spice it up piece by piece with hardcore, hip hop and ska. The result is an impact equivalent in 2023 to what Machine Gun Kelly was last year at this same event.
With a crowd delivered from the first minute, his concert will undoubtedly be among the most celebrated of Lolla’s second day, beyond the fact that his punk-rock sound is not new and his “I love you Argentina!” they remain in debt, due to a somewhat excessive demagoguery.
His merit, which surpasses him, is his impressive charisma, which made everyone sing an unusual word he learned in Spanish “Empanadas!”, Messi’s shirt for the 2022 champion team he wore with surprising naturalness given by the public, and having made a song at the request of Guada, one of the fans who was glued to the fence. Without a doubt, it was mission accomplished for the Englishman.
the start of the day
Previously, at 12:45 the local group loaded Melanie Williams and the Cabloidled by the talented singer and multi-instrumentalist capable of switching between keyboards, guitar and drums.
Florianoa major new artist who has long been much more than “El hijo de Vicentico”, opened his set with a statement of principles: “I feel that we are increasingly blind, I don’t want to love you for a cell phone.” With battery , electronic but organic percussion, keyboards and a Hofner violin bass alternating with a guitar, gathered the first fans on the Flow Stage, when there were already a couple of hundred people.
It was presented on the same stage 1915, a quintet work their music with influences ranging from white soul to the pop of people like The Whitest Boy Alive. A meticulous visual set as he completed his concert, which in the middle of the show had a speech by singer Cruz Hunkeler, and towards the end, a cover of check of Luis Alberto Spinetta and his Companions of the Desert, who finally raised the crowd.
Later at 3pm, in front of a larger crowd than on Friday at the same time, “Good afternoon friends, this is Naphtha!”. The small old school soul & funk orchestra showed their instrumental virtues on the Samsung Stage. Although their music undoubtedly performs best in an enclosed space, the audience supported them and the stage was not the best for They.
The offering of shows was huge, and that was how he shone too Wallowthe project of Dylan Minnette, the young actor of the series 13 reasonsand Braeden Lemasters. The group sometimes has the freshness of guitar bands like Weezer or The Strokes.
Mendoza’s pop songbook you point it out to me It was the perfect soundtrack for that evening time of day when the sun slowly begins to set and the property was already a self-contained city within San Isidro. With echoes of Serú Girán and Spinetta Jade, their music produces more when they turn to electronic improvisation and leave the audience static, waiting for their next unexpected move.
Finally, at night he played Jane’s addictionthe band of Perry Farrell, the father of this great creature of the entertainment industry and the reason for the Lollapaloozean existence.
His band appeared for the umpteenth time on an Argentine stage but for the first time in his Lolla, and showed their usual solidity in an almost perfect show. The group played alternative rock geniuses, generational milestones that still stand on their own merits and to be played live by the unwavering foundation of Stephen Perkins and Eric Avery on drums and bass, respectively.
Separate paragraph for the guitarist Josh Klinghoffer that in a new chapter of the insecure novel between Red Hot Chili Peppers and Jane’s Addiction swapping members was at the important peak of the original guitarist Dave Navarro, absent with notice.
The audience received its huge dose of tribal-psychedelic ferocity, and happy and smiling moved on to the next stage to enjoy one of the most emblematic Argentine groups of the alternative spirit and avowed fans of Jane’s Addiction: Catupecu Machu. It was almost eight in the evening and the last stretch was still missing.
Catupecu in full
About the same show ending as Jane’s Addiction, Catupecu Machu He counted to four on the next stage and blew the crates apart with the brutalist two-drum arrangement that gives rise to the now classic riff of And what I want is for you to walk without land. The result is scientific at this point: thousands of souls walk without land.
while playing In your dreams, Fernando Ruiz Díaz remembers his brother Gabriel and, happy or heartbroken, transforms the show into a highly spiritual ritual.
For who lives Ca7riel, a character linked to the Catupequense delirium, climbs up, takes the microphone and shouts: “How are you, guachos!?” He continues the party with the bass drum in black.
A cloud of dust covers San Isidro, it is To move on! by Catupecu Machu with drummers Julian Gondell and Abril Sosa floating above the audience and Fernando challenging the audience “Aren’t we ‘the best audience in the world? but maybe the best in Argentina.
Tame Impala, lysergic pop
Suddenly, at 20:45, on a giant screen a young woman gives a speech in English, gradually merging into a multicolored texture in the shape of a kaleidoscope. She is tame Impalawhich activates the senses on the Samsung stage.
Tracks for dancing in trance and cinematic string arrangements are part of the finesse offered by the group, a delicacy that contrasts with the rustic Australian accent with which Kevin Parker declares himself happy to finally be able to return to Argentina.
In addition to being a successful band, Tame Impala appear on the scene as a group of alchemists influenced by Albert Hofmann, taking advantage of a sound laboratory to find the perfect lysergic melody.
Finally and after spending a good part of the show sitting down due to an accident with a broken hip, Kevin stands up to sing his biggest hit, We seem to only go backwards.
Twenty One Pilots, irreverence and successes
Punctual, at 10.15pm Twenty one pilots, the duo formed by singer and pianist (among other things) Tyler Joseph and drummer Josh Duno, took over the stage of Flow. Despite the fact that at the same time Melanie Martinez sang and Bresh’s party started, one could see how the crowd moved to see the American band.
The two hooded men carried their pop irreverence suitable for all audiences for a walk.
Although it is a band that covers sound spaces very well for being a duo, the proposal has been enriched with the contribution of guest musicians from The outside. The group entered this Lollapalooza grid replacing Blink 182 and the act of playing the biggest hit on these -All the Little Things- was much celebrated by fans, though not as much as the World Cup trumpet version of Muchachos which they offered shortly after.
Version with height: cm stressed out, Tyler Joseph climbed onto a structure in the middle of the field and performed the theme from there, giving the show a precious extra amount of interactivity.
Charles Hurd is an entertainment journalist for News Rebeat. He brings a fresh and engaging voice to the world of pop culture, covering the latest developments in film, television, music, and more.