The desktop as a factory of popular culture. The desktop as a meeting point. C. Tangana returned to Sónar five years later (in 2017 he already performed at the festival), already being the father who blesses food, those songs that bring the popular Spanish and Latin sound to modernity. The after-dinner conversation, the central element of the majestic show ‘Without singing or tuning’ that Pucho (the nickname by which his colleagues know him) did months ago at the Palau Sant Jordi, was cut short this time. The ‘show’ was a reduced version and adapted -but no less ambitious- to the festival context. In this, C. Tangana never ceases, in the search to transcend. And so he manages to be almost as big as his ambition.
The concert is a sum of talents, between the theater and a live video clip, and in which the audiovisual weighs almost as much as the songs on his brilliant album ‘El Madrileño’. She started with ‘Still rapping’, a way of saying where she comes from, and continued with all those songs that have made her figure bigger, included in his latest album. Also concessions to hymns like ‘Before I Die’, that song that he already played in his first time at the Barcelona festival. But after the sticky bachata ‘Ateo’, this time with Nathy Peluso (it didn’t happen at Sant Jordi), the first great moment of the torrid night, followed by the beautiful ‘I’m never’ and ‘Too many women’, he presented that after-meal already mythical with The Hungarian, Child of Elche and Juan José Carmona (ketama). open desktop, the public, willing from minute one, was one more interpreter of the songs (‘Ungovernable’, ‘The Fools’…). For the end, the fuss and the pearl ‘You stopped loving me’ in another concert by the legend of C. Tangana in Barcelona.
afternoon ‘politics’
Precisely, a collaborator of Pucho at the time of perpetrating ‘El Madrileño’, Niño de Elche (along with 43 musicians, with Ylia and a group called ‘La Valenciana’), was one of the big dates on Friday afternoon with a proposal, ‘Concert de músika festera’, in which he invoked the spirit of popular Valencian festivals with clear inspiration from the bakalao route and the Moorish and Christian bands. That is: orchestra and extreme electronics in a vindication of the party. A proposal with a political point, said Niño de Elche in these pages.
It started late -the band entered 15 minutes late crossing the public to the stage-, and that made it overlap even more than expected with another appointment -this one- extremely political, that of the ‘queer’ icon Samantha Hudson, who was provocative, obscene in her gestures and moans to dishevele every conservative of “Españita”. The ‘pole dance’ bar (he climbed over it over and over again) hinted that it would become what it was: a disco cabaret.
She, total diva, leather outfit (she ran out of pants in the frantic first 15 minutes), Chayane-style micro, giant and pointy breast prostheses, He did not stop for a moment moving along with an entourage of six dancers. “Welcome to the underworld,” he proclaimed at the start of the show called ‘Total Settlement by Closing’. She sang to a disco rhythm, without a moment’s respite, her songs full of subtext and irony like ‘Dulce y baptized’ or ‘Por España’. El Sónar is a transversal space in which figures such as Arca have become great; This Friday he followed in her footsteps Samantha Hudson with a party to remember in which there was not a label left to tear.
major futures
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