20 years ago The sticker He jumped onto the scene with dark intentions: to dynamite the canon of festival music by mixing genres, accelerating them and crushing them, especially before the public, in his overwhelming live performances. With physical contact they grow, even more so this Friday in the Sant Jordi Club (first of two nights), where they were entertained below and above the stage (guest parade) to celebrate that they have been in the spotlight for two decades.
Bolo was a jack, knight and king of impeccable efficiency from the first minute, with that ‘And fly‘breaking the corduroy and putting the public into a gallop. Revolutionized Jamaican cadences, fiery brass, the accordion of Frenchman Romain Renard (singing ‘La voisine’) and the central coupleRubén Sierra and Adrià Salas, managing the party without allowing the rhythm to slacken. And although little by little they entangled us between their tuned cumbias, their rumbero assaults and the ‘disco’ incursions, when it comes to this troop originally from Montcada i Reixac (ten musicians) the genre is them, above any box.
Relative breaks
There is a danger that the spread of guests could blur a concert, but La Pegatina’s packaging does not falter just like that, and the group absorbed, as is, colleagues such as Arnau Blanch, the British rapper Youthstar and the Mexican Marissa Mur, all dedicated to the cause. More temperate was the one-on-one with La Canija, voice of the D’Callaos flamencos, during the (relative) break of ‘To those who’. “The slowest song we had ever done,” Salas illustrated. With the German group Querbeat they detonated ‘Nothing but a lie’, and with The Friends of the Arts, They recreated their song with together from last year, ‘La meva gent’.
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Repertoire always subject to interference and borrowing, that ruthless turmix style: themes of Rosalía (‘Desphá’) and Maná (‘Corazón espinado’), and the ’90s hit ‘I like to move it’, from ‘Reel to Real’. Latinidad and warrior guitars, even punk, heirs of Los Fabulosos Cadillacs. All of this, giving shape to a sonic ball of surgical impurity, with honors for ‘El gat rumberu’, with its tune howled by the public when the song was just beginning to move forward. More rumba: a ‘medley’ with quotes from ‘Bite me’ and ‘March march’staged in a long after-dinner C. Tangana style.
They joined together, swelling the final coven, Xabi Solano, El Niño de la Hipoteca, the Balkan Paradise Orchestra and Ferran Exceso, although the prominence ended up resting on the songs, without leaving ‘Maricarmen’ and ‘Lloverá y yo veré’ in the pipeline. Those music that have made La Pegatina an international attraction, as illustrated by this tour, which in the coming weeks will take them from Mexico to Holland.