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Tuesday, June 28, 2022

criticism | C. Tangana at Sónar: A taula

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The audience of the concert of El Madrileño al Sónar was, suat, provided with the exact dose of euphoria, supplied with vain skins and variations and singers and finant with a relative success. Pel que fa a El Madrileño i la seva tropa, mimetitzaven this image in a perfect gairebé way: delivers, suats, both the exact dose of euphoria and they don’t have for nothing because I donate per fet than to the alçada to which it trobaven is so long, until a pious draft came. But unlike those who will attend the concert, and at odds with the show’s tongue-in-cheek title, Without singing or voices, El Madrileño will sing and vote molt bé. This darrera circumstància was of colossal value considering that the Escollit venue – a hangar of pharaonic proportions – for a concert with these characteristics became perhaps like the Pavelló Firavi in ​​​​​​Vilafranca del Penedès, which had an acoustic idònia per acollir, with each year, the Fira del Vehicle d’Ocasió. Sigui com sigui, the strength and cohesion of the band could make all the difference.

I don’t think El Madrileño has followed the most talented musicians of the sixth generation, but I daresay he is the most restless and could be because of the millionths who have played the role of imagination in music. Seva’s artistic metamorphosis culminates for the moment in the apoteòsian spectacle that he will present in Barcelona.

How ugly is Crema to you in his early years and with an unusual ability not only to rhyme but also to connect the non-rhyming parables, he will cultivate the wildest individualism and selfishness that will not cease to be attitudes that you accredit as a young and outrageous rapper. He later takes the name C. Tangana – which is perhaps the most stuffy surname – and becomes an entrepreneur dedicated to importing and exporting exquisite sons between Spain, Atlanta (USA) and the Caribbean. And in the darrera phase of the seva transformation and yes conegut with El Madrileño, he has become a generous and inclusive patriarch (“Me without these people, what the hell am I going through?”) who claims i fa seva només una to be traditional Spanish aesthetics, but a Spanish point of view: the party scene, the assoleix en grup només, the uninhibited agency, the uninhibited sister, the alè carregós, the rapidly escalating discussions and the sincere reconciliations and, per això mateix, commovedores. Or sigui: a sobretaula for Dead Hores, a sobretaula for each corner. Not in va, the location of the tour of Without singing or voices look for the area Mateix of Sarao, to the voltant d’a taula de menjador that El Madrileño will use for the extraordinary Tiny desk which will be recorded by US public radio in 2021.

In Barcelona, ​​Antón Álvarez Alfaro – the singer’s real name – will be a crema mica (he’ll play the concert, performing fragments of “Still Rappin’,” a theme that’s precisely trying to justify the age of Creme). Also, the role of C. Tangana will be a glimmer (she will sing a frivolous and delicious “Crying in the limo”). But above all, wrapped in Nathy Peluso, Niño de Elche and a dozen other musicians and singers, and a deliberately baggy blazer in pistatxo, it will be El Madrileño.

L’eix de tot el que successeïa dalt de l’scenari was a taula: it’s ballava al voltant de la taula, it’s a cantava on the taula, it plays palms and guitars asseguts a taula. Tot had a veure amb la taula. This way of conceiving the scene was not accidental per descomptat. I declare. If the three characters that sparked the imagination of Antón Álvarez Alfaro have something in common, it’s that all three are hedonists. What sets them apart is the way they arrive at l’èxtasi. Crema i C. Tangana hi arribaven persistint, fins a punt irritant, where disproportionate flattery towards the “jo” was the only possible way. El Madrileño has become the Nosaltres’ idol in a way that might be unexpected for people who hate rap and hip hop. Res expressa milor aquest “nosaltres”, the mimesi between the audience and the band at Sónar. I am the backbone of the “nosaltres” who sing, menja, balla, maldiu i pardon as a taula.

Source elpais.com

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