Do not realized who they were robots. If the musicians, almost motionless, on stage. If the crowd that filled the Colosseum, stereo glasses placed in the eye and phone in hand to record all times, facing in the direction of the four musicians and images we looked through.
Some people dance. And beat up palms the compass. But above all there was hypnosis. More than 40 years later, Kraftwerk continue to magnetize, with electronics, retrofuturistas images, surround sound, translucent light, primary colors, minimalism and strict geometry, precise words and now the novelty of 3-D technology, which allows other experience, a total pop art show.
It is a show of efficiency the entire race. Whom was seeing over the years have noticed that do not change much, even in the alignments, but remain ageless, austere and mysterious . Recreate up technologically and some subjects suffer light sound reformulations, but in essence have not changed much since, in the 1970s, established a sound and attitude that seduced successive generations – and this once again found himself in a coliseum with parents, children and grandchildren – and that influenced almost all the current song.
A few years ago, in an interview with Holger Czukay, the German historical musician of the same generation, this told us that contrary to what had happened with his group, the Can, which were changing registration, Kraftwerk had never done so, because they had an identity need in terms of sound and image. “What is good and bad”, told us it “. Your brand is unquestionable, but at the same time it became hostages”
It is true. What Ralf Hutter group designed in the 1970s, in terms of music, imagination and way of operating, was so significant that the room for amendments was narrowing. Today the field to change is not on the music side, but the scenic setting, which in the case of the German quartet will give almost the same, because they are inextricably linked.
And the truth is that over nearly two and a half hours no one took his eyes off the stage, except for collective self-portraits with the glasses, despite being a concert in counter to notions of physicality, with almost motionless musicians in front of their computers, like dresses with a futuristic clothing without complicity between them and with the assistance:. just a “goodbye” at the end
But is not there that decides a performance thereof. It is in need intentionality, where participating sound, images and spoken words to the robotic voice of Ralf Hütter. It is in simplicity, but of great technological complexity, such as sound and light are exposed. It is the game of illusions where everyone is invited to participate, now with 3-D technology, which has its peak when, in the first encore, open the curtains, and instead of the musicians are faced with four robots-of-replicas -músicos while listening to The robots .
But as expected, had been privileged almost all the classics such as Computer World , The model (the most celebrated), Man machine , Neon lights (the most poetic), Autobahn , Electric coffee , Radioactivity , Oham sweet ohm , Trans-Europe Express or Tour de france ( the most danceable), a perfect synchronization between music and images, many of them referring to the original videos, triggering a dual imaginary where man and machine interface, technology and nature, exceptional art and everyday life, is always in motion .
There is also irony. When there are images of encrypted computers, as if someone had entered the system. Or when you see a spaceship to land at Rossio Lisbon. Or when you hear “we recharge” foreshadowing The robots . Or when they close the curtains, to the end of a show with production Kling Klang (group studio mythical name), like we were in a movie session.
The greatest weakness eventually be some details in versions reactualizadas, as the rhythmic dynamism of the second half of Radioactivity , or continuation of superfluous sound solutions, and in a moment of Autobahn . But these are minor side effects of a project that continues to have a sense of overall performance as few . So became party. Celebrated a legacy. He saw a crowd of glasses in wonder, in the direction of the stage.
And it was required that they returned twice. In the end, as he heard a mixture of Boing boom tschak, Techno pop and Musique non stop , went out one by one, under applause. The founder Ralf Hütter got to the end, thanking reception. We do appreciate it. Coming back.
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