There is only one stage of the entire Primavera Sound, which has more than a dozen, that does not stop for a moment to spit out constant electrifying rhythms. It is a pot that boils endlessly, with a stable boiling point and with moments that it overflows due to overheating. It is a circular dance floor, with borders limited by a large metallic structure, and which warms up those present through a mixing desk located at ground level camouflaged among the people.. is the call Boiler Rooma electronic music event broadcast in ‘streaming’ born in London that has expanded throughout Europe and already celebrates more than 100 parties a year. The company was bought by the DICE ticket company, it has about sixty workers at its London headquarters.
This is the second year that they have their own stage at Primavera Soundwhere they debuted in the mammoth double edition last year with visible success -it is always at the edge of its capacity, about 750 people, and many people wait outside for their turn- and deafening -the music rumbles on the circular track and attracts onlookers-. The most euphoric images of the festival, there is no doubt, can be seen there. Perhaps that is why at 2 in the morning they finish streaming despite the fact that the pot continues to boil until 5.30.
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The ‘dj’ sessions are intertwined, although there is a slight pause between one artist and the next for their proper presentation. On Friday Ikram Bouloum opened the party, followed by Yves Tumor and put the finishing touch on brilliant British producer Mura Masa, the highlight of the programming these days of this particular room that pays tribute to clubbing. “One of the best ‘beatmakers’ in the United Kingdom”, was the concise and precise presentation of the master of ceremonies.
The lines to enter the Boiler Room stage are long before the DJ starts Mura Masa, who wanders through the public wearing a tracksuit of some size large and finishing a rolling cigarette. There is expectation to see the British, but once inside the pot the public does not care who is playing because they feel part of a good stew. Like a chickpea in full chup-chup, attendees collide with each other knowing that they are things of the trade and that the important thing is that the ingredients mix well. To do this, Mura Masa did not stop stirring the broth to complete the euphoric recipe, with dressings such as ‘Linda’, by Rosalía and Tokischa, which once again overflowed the pot.