On the night of Monday, October 6, the Movistar Arena became the scene of a hybrid show between a political campaign, a literary presentation and a rock recital starring President Javier Milei. Under strident lights, apocalyptic screens and a band that accompanied every step, Milei sought to turn the presentation of her book ““The construction of the miracle” in a show of symbolic force to shore up his leadership on the eve of the October 26 elections.
Even before the formal ceremony, it was already clear that this was not a conventional literary launch. The president broadcast the sound check live through his social networks, greeting the musicians and technicians, warning: “Get ready for a show from the fucking mother Long live Freedom, damn“With that gesture he sought to suggest that the event would be something more than a speech and anticipated a format where the political and the performative would converge.
After 8:30 p.m., accompanied by the so-called “presidential band,” the president took the stage and immediately performed a repertoire that included Argentine rock classics and some personal adaptations of popular songs, such as Give me fire (Sandro) or Free (Nino Bravo), with a visual presentation loaded with ideological propaganda: images of the Berlin Wall, attacks, barbed wires and deaths projected in sync with the interpretation. Social networks, faced with the extravagance of seeing a president of a country perform a live recital, reacted with the famous and unmissable memes.
The audience, estimated between 14,000 and 15,000 people, was largely made up of like-minded militants, groups such as Las Fuerzas del Cielo, Los inquebrantables de Sebastián Pareja, and followers who experienced the event with almost liturgical fervor. Outside the stadium there were security operations to contain opposition demonstrations and symbolic resistance. In national political sensitivity, the act comes at a time of urgency for the ruling party: a few hours before, José Luis Espert resigned his candidacy due to allegations of links to drug trafficking, leaving Milei without one of his references for the deputy ticket.
The chronicle concludes with a paradox: the presentation of a seemingly academic book became a great political-musical act where the text was subordinated to the spectacle. In the staged scene, Milei sought to reappear as a charismatic leader, capable of combining screams, guitars and proclamations to ignite the libertarian mystique that propelled him to power.
Image gallery
