Juanes played a leading role in the brush of latinity with pop in the ‘mainstream‘ of the turn of the millennium, and over time it follows its own course, without being impressed by the trends of the moment. Far from the reggaeton furor, he actually adopts adult tones in his new album, which has such a not-cool title as ‘Everyday life‘, and that constituted a pillar of his return, this Thursday, to the Palace of Music.
fiery night with the audience on its feet and lends itself to debauchery, satisfied to begin with, above all, in its rhythmic numbers. One of the new ones, ‘Gris’, a pop song about the decline of a long relationship, caused less fuss than that cumbia (less electronic than on the record) called ‘Amores prohibidos’. And everything soon fell apart, right there, with the trophies that one day placed him in the map: the rabid ‘Bad people’ (which perhaps today would be marked as a toxic song: “you made fun of my feelings& rdquor;, “you’re a liar& rdquor;) to the romantic filigree of ‘I’m worth nothing without your love& rdquor;.
The help of Juan Luis Guerra
Juanes has plenty of catalog and ‘hits’, and He didn’t derail on the new songs, although they moved away towards funk (‘Más’) or sober half-time (‘Ojalá)’. But the best integrated turned out to be ‘Cecilia’, which she recorded with Juan Luis Guerra. The one from Medellín reminded us of his musicianship (with rock roots in the metal group Ekhymosis), handling the electric guitar and releasing the occasional sparkling solo.
This tour also serves to introduce us to Gale, Puerto Rican talent who has composed for Shakira and Christina Aguilera, the opening act with which Juanes shared a highly celebrated song, ‘Photography’. Almost as much as that ‘Para tu amor’, which he sang entering the audience, entertained by the fans, and which he dedicated to his daughter Luna, who turned twenty this Wednesday.
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full-throated romanticism, percussive wiggle with subtropical jungle texture and rock gags. Everything is assembled by Juanes without the combination squeaking. A climactic sequence was the one that took root in popular music and, specifically, in vallenato, the climax of which was the classic ‘Las mujeres’, from the 70s, composed by Carlos Huertas.
And when he began to pull the thread of the trophies, nothing could stop him, and that was a party: ‘La pay’ and ‘La camisa negra’, the deep beat of ‘Yerbatero’ (with an almost psychedelic coven of guitars and percussion) and the plea of ’A Dios le pido’ igniting in the Palau. The ‘funky’ cumbia ‘Ne enamora’, stretching the coven, and the conclusive feeling that Juanes has power.