In the last edition of Primavera, when getting into a crowd still required more than serious respect, many of us had no problem crowding into a medium-sized stage to vibrate with the repertoire of Fred again…, former producer and commissioned composer who one day decided to establish himself as the author of melancholic dance ‘bangers’ in his own name.
The formula of his albums ‘Actual life’, personal diaries that can be danced, is a winner: Fred Gibson search through social networks or your phone to find a vocal fragment of a known artist, or yet to be known, or even an ordinary person, to use as sentimental nutrient for techno, UK garage or nu-disco productions of couples sensitivity and forcefulness. Sometimes he himself adds as a vocal layer in balladeer mode.
Transferred this year to one of the two biggest stages of the festival, this always smiling genie, despite his melancholic style, knew how to win over both his most loyal and punctual fans and those who, attracted by the hurtful melodies and/or the beats of impact, they ended up joining this restorative party.
Key moments? Basically everyone. With the videos from which Gibson has taken the vocals deftly timed as visuals, it was a constant stimulus on all levels.. From depression turned into emotion she dances in ‘Sabrina (I am a party)’ to the encounter with 070 shake in ‘Danielle (Smile on my face)’, going through the double knockout of ‘Angie (I’ve been lost)’ and ‘Marea (We’ve lost dancing)’. Without forgetting the great exercise in suspense, in delayed gratification, which was marked with ‘Baby again ..’, her collaboration with her good friends fourtet and Skrillexalso present on their own in the program on Friday.
Related news
In fact, it was the latter who had the mission of keeping hedonism high in ancient Mordor after Fred’s deployment. There would be no doubt that he would know how to do it and, furthermore, with slightly more subtle and diverse weapons than when he was an emblem of maximalist dubstep. In recent years we have seen Skrillex veer with style towards a more pop EDM, great imbrications with trap or clever emo-rap anthems; efficiency and class seemed assured.
But his set was not unstoppable in principle: he stopped shortly after Hamdi’s ‘Skanka (VIP)’ to prevent misfortune. A pyrotechnic blow ignited the cloth that covered some spotlights and a small crisis began. “Is that fire?” Sonny Smith asked. at a time that now, the scare having come to naught, can be remembered almost, almost with humor. When, after a half hour break, Skrillex returned to his old ways, it was quickly seen that the only pyrotechnics for the rest of the night would consist of explosive rhythms or legendary ‘drops’.