Two great concerts with the capacity exhausted in the early sale we witness Saturday. At 8 in the Sala BBK (tickets at € 23), comfortably seated in row 5 we tasted the Mexican Julieta Venegas solo giving "the last show of a small tour of six shows", as she reported on a Spanish tour nominated 'En acostico', and at 11, at the Kafe Antzokia (tickets at € 18, opened the Tacoma portugalujos), from the amphitheater, not far from a spectator as illustrious as Fito Fitipaldi, dodging heads to be able to glimpse the stage we enjoyed with the download of Los Zigarros, the Valencian quartet led by the Tormo brothers, who is on the tour of their third album, 'Apaga la radio' (Universal).
The bourgeois Mexican Julieta Venegas Percevault (Long Beach, California, 48 years old), former Tijuana no, raised in Tijuana itself (the most violent city in the world, they say) and nowadays resident in Buenos Aires, Argentina (where she has moved with her eight-year-old daughter to reorganize her career and take off touring as much as possible, as she confessed in a parliament), gave a magnificent and entertaining recital of 21 songs in 97 minutes in which she used seven resources : four instrumentals (wonderful piano, versatile accordion and solvent acoustic guitar and four) and three vowels (singing, poem recitation and uncontrollable and nervous monologues).
Yes, as so many musicians usually do in their solo concerts (there we have the example of Elliott Murphy, who hardly opens her mouth if she comes with a group), Julieta Venegas spoke a lot, she made us laugh often involuntarily ("It looks like 'The Comedy Club'", protested the reappeared Azpiazu), said having problems with inclusive language, went from talking about motherhood and her daughter to support the movement in favor of abortion 'green wave' ("something beautiful that unites us", he said, as it sounds, maybe it was expressed badly) and she said that as a child she had studied classical piano and that her references were intense Russian pianists like Khachaturian and Rachmaninov, who liked guitarists like Lou Reed or Suzanne Vega, but who had no pop referents at the piano … until at a bar in Mexico City she heard to the Argentine Charly García.
This was revealed before the fourth piece, the version of 'Eyes de videotape' by García. But before we had already thought and noted that Venegas more than Mexican sounded Argentina in the jazzer, inaugural and unpublished 'Form', in the one of the piano to the James Rhodes 'Illusion' and in the populace of something Calamarian 'Amores plaónicos'. After the first four executed at the grand piano, the Tijuana sat on the stool and with the cuatro (a sort of Venezuelan ukulele) sang rancheras ('I forgot again' of Juan Gabriel -Julieta warned that it is not from Maná – and 'Paloma querida' by José Alfredo Jiménez), and the acoustic guitar became more pope to the Amaral ('Songs of love') but without ceasing to reveal personality or charisma ('Under my tongue').
And he returned to the piano to reveal marvelous faculties in a batch that gave the best of the evening: 'Sola', a poem by the Uruguayan Idea Vilariño who first declared reading it in the only subject of the 21 where he read the lyrics (he did not use a lectern, something that even hits us), a minimal, circular and cultured 'Porvenir', its first composition, entitled 'This time', which resounded solemnly and also Argentine, or the tragic and sincere 'Ya conocerán', perhaps the top of the quote, with the verse "I only ask you to stop hurting".
And Julieta, who had once asked for the collaboration of the respectable clapping and singing and who seemed to be more directed to the women than to the men in the room, continued without diminishing the interest, recommending that we follow her in networks as she tells everything in her blog , holding the accordion ('That way'), sitting down again at the piano ('You are for me', a tragic jazz funk quite Jorge Drexler), picking up the cuatro for the ranchera of spite 'Sing, sing, sing' by José Alfredo Jiménez and his hit 'I'm going', before a double encore with two other excellent piano pieces: 'Limón y sal' in ragtime plan and 'Farewell' subtracting the drama and staying with the positive. The best time we've seen Juliet. His recital was very short, nevertheless the nervous chatter.
Then we went through the Kafe Antzokia to see the four Valencian rockers of Los Zigarros, the successors of Tequila, without this meaning that they imitate them. Despite the discomfort of being in a room full to the brim, we stayed until the end because the concert, the numbers 215 that we are going in 2019, pointed to the best of the year. And if Julieta sinned as a monologist and asked for claps and choruses, Los Zigarros in her bolazo of 23 songs in 99 minutes, they barely spoke and only made a concession to the public, that of sending little cries to be repeated, like Miguel Ríos, but not They lengthened in that. And is that Los Zigarros are supercool, they have plenty of faculties and rock and roll runs through their veins, with which the songs come out with an amazing naturalness and an enviable imagination. For example, in the simplest songs, they surpass their friend and teacher Tarque, the singer of M-Clan.
Apart from this concession of screams, the rest was to the point. None of his 23 songs was bad (nor regular) and the many magnificent pieces exploded like artillery fire grained in a comic. Nothing seems forced or stretched in his compositions: neither the insistence on certain occasions to create climax, nor the careful chorus and the most effective arrangements, nor the refrains, nor the hooks, nor the winks (to Tequila, to the boogie, to the 'Blue suede shoes' …), nor the panting , not even the grunts … The only downside of his Antzoki bolus would be that the excessive volume caused as collateral damage that the thing did not sound so good, that everything could not be distinguished.
Notwithstanding which (this is the title of one of their songs, so they can see how easy it is), supported by a huge rhythm section, led absolutely by Ovidi Tormo and with his little brother Álvaro on the solo guitar and the dances on the left From Stage, The Zigros overflowed attitude and skills throughout a repertoire that was also short and had explosions as' My friends' (version of The Flying Rebollos of Portugalete), the Stoniano ended in Acedecia and already quoted 'Notwithstanding which', one in the wake of Status Quo 'What demons I do here? ', a literally atomic' Resaca '(last night was a tiger and today I am a mouse) attached to the devastating' I'm going to dance on you 'and both of them before the instrumental surfer' Wipeout 'by The Surfaris (with what work of the spectacular drummer), the always sincere and hurting 'Since you're no longer mine', the reinforcement to the AC / DC of 'Bad decisions', another sure pop like 'Falling through the hole', the swing arrangements of 'Hate Me Like', the boogie of 'A todo que sí' or the unbeatable encore linking these three rockers: 'Talk, talk, talk' (the Ovidi leader said when he reappeared: "they say that rock and roll is about to die, but listen to this »), 'Shoot me' and the whirlwind 'Inside the law'. Buf, and we left many titles in the inkwell, huh? Of the best of the year, yes.
(tagsToTranslate) julieta (t) venegas (t) zigros (t) depleting (t) bilbao