There was transcendence with Arcade Fire, euphoria Grimes and a distinct Portuguese representation (Isaura, Francis Dale, Paus or Mirror People) on Saturday, the last day of In Alive in Algés, that it will have been one of the issues complete festival, with names that pull crowds but maintaining the artistic validity, sellouts, a lot of foreign public affluence and the novelty of synthetic turf. The only problems took place just this overcrowding with fluidity in the room and outside, outside, to be felt in the moments when the crowd converges in the same direction.
It was a night of strong emotions. The first chords of Rebellion (lies) Arcade Fire, was the concert of Canadians already in its final stage, a couple of Spanish ahead to quiet then starts pounding, you hear the battery and the bottom line checked, then enter other instruments of percussion, brass, strings, guitars or keyboards, with a dozen musicians on stage in great agitation. At many Win Butler pretends reportedly is playing guitar, shouting “ every time you close your eyes, nah, nah “, with the crowd chanting the letter with him, and the rate goes up, Hear violins up there, and he returns to sing with fury “ lies, lies “, while the music gets more intense flowing into a cathartic final wave, with the embraced couple in a mixture of laughter and tears.
costs not believe it would be an evocative song of any relevant time in the existence of those two people. In the last ten years have existed rock group that was imposed in large arenas, playing to the masses, but still managed to communicate as if you were to do for each of us, were they. The songs that cause this feeling of elevation are housed primarily in the first two albums ( Funeral 2004 and Neon Bible 2007). That is, at present, one of the Arcade Fire concert is not only a thunderous epic experience as in the past. There are also dance moments of irony and even solemnity, which is not surprising when you hear the other two albums, The Suburbs (2010) and Reflektor (2014).
The concert went through several phases. On stage, the passion ever. But the primary energy goes hand in hand the more subtle refinement. There nerve but also physicality, sometimes with overlapping instrumental layers, sometimes with a less saturated sound, exposing a greater wealth of options, which we do not see much around when thinking about bands of this size. They started with energy Ready to start , passed by the romanticism of The suburbs , gave a colorful kaleidoscope night with the voice of Régine Chassagne in Sprawl II , released the grand lyricism of My body is a cage , put everyone to dance with Keep the running car or funk refinement of Afterlife , made the throats heard in No cars go and at the end of the heavenly Intervention , cited God save the queen of Fri Pistols.
in the final part, so that should not remain doubts, they were exciting with what must be one of the sequences the most domineering live that one can experience these days, with songs like Neighborhood # 1 and the aforementioned Rebellion (lies) to do release an energy that few groups can expose that frantic way, ritualistic, the edge of the outbreak, with everyone clamoring loudly. The following is the disconcerting Here comes the night time with the New Orleans gigantones to invade the stage, for all end with Wake up , musicians and audience as one, a practice of collective resilience that still echoes in the inner memories of each, fulfilling another magnificent concert of Arcade Fire in Portugal.
If they have a clear generational weight who grew to music in the last 15 years, Grimes fellow begins to have it for a newer audience. In Portugal the phenomenon is not clear, but it is clearly a case of global cult, not surprising that they were mainly foreigners who are willing to listen to it in alternative spaces.
To propose have electronic songs with anything plastic and visual, pop intelligibility mixture and complete elation, as embodied a post-internet generation that filters the most diverse elements of non-hierarchically. Accompanied by three ballerinas-agitators, who are also sometimes the role of music, with one wielding the guitar, is foreseen on his show last linked to the performance and the visual arts. The music is almost always a potent compound vitamin that assimilates splintered figures from various backgrounds (house, R & B, electronic, industrial noise, shouted voices). To all ends in a dance frantic music
The public packed completely Heineken tent surrendered completely, proof enthusiasm unique overnight Saturday. Listening to disk songs like Oblivion , Genesis , realiti, Venus fly, Scream, Go or Kill v. maim does not realize immediately the impact that can get on stage. Dir would Claire Boucher, his real name, without proposing major changes or different arrangements to the songs, intensifies everything to the limit – volume, sound, textures, light, physicality – and the truth is that the effect works. For many people it has been the big surprise of the night.
Surprises did not exist at the concert of Calexico, but there was the competence and the usual brightness. The lead singer and guitarist Joey Burns rarely fails and thus returned to be with a rock scented music, cumbia, rumba and mariachi, all played with great refinement. The sense of celebration that the Americans led to one of the side stages turned out not to be fulfilled in the main with the Spanish Vetusta Morla and American Band Of Horses, which were limited to heating groups for Arcade Fire.
After these still played the M83, the French project of Anthony Gonzalez, who became a successful case because of singles as Midnight city . No sense of spectacle effort to involve the assistance and a sound installation that both refers to the pop psychedelia and for the most baroque electronics, but the 20 minutes we saw was the idea that they are not always able to engender the clearest solutions simple.
it was also a good night to take the pulse of the latest Portuguese music with the electronic pop of Isaura and the austere soul scanned Francis Dale to win new fans, with convincing performances in the secondary stage . The same applies to the Mirror People Rui Maia, revealing an increasingly unstoppable rhythm machine, with schedules, battery, robust bass lines and an occasional female voice, or sticks, nerve example, physical availability and tribalism urban, exposing a sound mass in crude trembled any festival. The Alive In return the 6, 7 and 8 July next year.
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