It had been too long since Dellafuente had set foot in Barcelona. A girl, who had not had material time to see him in concert before, was crying in the front row when his presence began to be sensed, captivating and transcendent like few others in music (beyond the urban). Four years later, the return of the genius of Granada, total sorcerer of the neighborhood and its cornerswas the most anticipated event on Friday at the Share Festival, which this Saturday will also celebrate its second day at the Parc del Fòrum.
After a stage in which he almost gave himself up for dead, Dellafuente, who started tonight with ‘Libertad y salud’, a piece from an album (‘Descanso en poder’) sold as a kind of epitaph, He has returned to the stage this season to remember that his leprechaun never goes out. With a round show that incorporates theatricality, the continuous video clip, from the presence of a group of dancers/actors, a BMW and a moped on stage, the artist from Granada recreates his life and career, if they were ever different things.
Neighborhood scenes, the ones that tan their sincere and conscientious music: a lady passes by with the shopping cart, there is a discussion in what it means to be a mechanical workshop, a few touches are given to a ball among friends, others clap while one plays the guitar or a theft is witnessed. There’s also an exchange of some kind that ends with Dellafuente counting bills leaning against a car. Maybe that’s why he sings on ‘Dile’, the second song of the night and one of his classics: “I had never thought of being a singer in my life; we wanted to be all drug dealers”.
The compositions and shots that are projected are well resolved (for some play of light there was still too much light), like when he and his companions sit down to interpret ‘La Recomellía’. Dellafuente mixes stages but his audience doesn’t care: he is faithful, loyal, devoted. Without warning, and after a first dose of reggaeton with ‘Romea y Julieto’, he turned the concert into a brief electronic party, with him at the mixing desk along with his producer, Antonio Narváez.
In the end, he had time for a battery of historical songs, rap (always with a flamenco air) from ‘Corazón mío’ to ‘Guerrera’, before delving into his latest folkloric album, ‘Lágrimas pa’ otro día’. As if asserting himself for the auction, the ‘performance’ made him sit down to receive a medallion with ‘Tell me if that’s worth it’. The chain wore it for the party with a dozen people jumping on stage to celebrate with the fulfilled wish that ‘Pa’ recounts better’. Alone on stage, ‘Consentía’, a beautiful declaration of love, culminated the infinite spell that only magicians know.
Feia massa, @dellafuente_ 🥹🥹🥹 pic.twitter.com/tZLHcIPBJM
— Ignasi Fortuny (@ignasifortuny) June 9, 2023
From Mushkaa to Hoke
First thing in the morning, the festival was opened in full sun by the dazzling Muhskaa, an emerging talent of incredible strength and blurred borders. The 19-year-old, with a short career but already with her own army, apparently today, only performed five songs that served as an appetizer, but a first tasting that will end up being the main course.
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The duo of creators of what was surely the best Spanish rap album of 2022, Hoke & Louis Amoeba, also performed on stage. The Valencians, brilliantly polished lyrics and great productions, presented that album to frame what is ‘BBO’. A dose of pure park rap programmed between the urban music party offered by the Share Festival. But Hoke, oblivious to those impatient of, above all, Quevedo, drained a joint in less than a minute without staggering -some of his songs also talk about this epic-, to present that generational and Olympic work -plays with the continuous metaphors between sports and life in a simple, humble neighborhood, like him- made by hand with the producer Louis Amoeba.
Later, as a bridge to the main dishes of Dellafuente and Quevedo, who closed the party (who entertained Dj Nàtura between concerts), highlighted Saiko and her ‘Supernova’, that song that incorporates verses from ‘A violinist on your roof’, by Melendi. The crowd, more than 17,000 people (very young) who passed through the festival, shouted the words of a song published 15 years ago, when many of them did little more than doodle.