There are endless opportunities to verify that the spirit of Primavera Sound is still there, very much alive and habitually addictive. Because one of the main hallmarks of the variety and contrast that runs through its line-up year after year remains. Obviously, the 265 concerts that the Forum hosts throughout these days are enough for that, and an illustrative proof of this was the one that could be experienced yesterday evening.
The day of live performances opened with Carlota Flâneur, that is, the artist, singer and composer from Barcelona Carlota Cerrillo. In other words, one of the most attractive bets of a batch of local creators that can also include Iris Deco or MarÃa Hein. Her influence on her proposal by Ferran Palau is undeniable and confessed, although the singer is evolving along a path of her own profile, even though the considered father of metaphysical pop produces her. Yesterday, for three quarters of an hour and thirteen songs that started with Alive at the same time, he transmitted good feeling, sustained intensity and his captivating dream pop when it was time to offer it, but the muscle also surfaced throughout a session that he offered on stage perhaps too big for its convening power.
Shortly after, at the other end of the wide space, the fan could contrast the above with a very different dose. Nothing better than a contagious shot of rhythm, the desire to enjoy and share by the hand of Los Hacheros, that Brooklyn combo that invites you to travel in the key of sound Latinities such as montuno, guaracha or, of course, salsa de la good. Led by the producer, composer and guitarist Jacob Plasse, the sextet with Cuban essence reeled off their repertoire with some of their most successful songs such as Timbalaye, Bomba de Loaiza or that collective party entitled Baila con los Hacheros. An intense hour on the festival’s main stage before an audience that was not small but, except for the first rows, did not shake the skeleton as much as the proposal demanded. In any case, it was a gratifying parenthesis to the busy present and that ended with En la calle. One only had to look at the faces of the attendees to verify that this plunge into other hemispheres had been sensorially very pleasant.
And, on the huge adjoining stage, a couple of hours later the band Japanese Breakfast made an appearance, a combo with a notable echo at the moment, where the figure of its leader, the guitarist and singer, stands out especially Korean-American Michelle Zauner. The group offered a more or less experimental pop key (she recognizes the great influence that the Icelandic Björk has had on her career) a repertoire that is pleasant to listen to, very well defended instrumentally and sung by a vocalist who is not particularly big-voiced. But the hook, profession and attractiveness of the proposal makes up for it.
The poker of heterogeneous proposals was undoubtedly closed by a concert by the British Wedding Present, a petit committee session for only a hundred people. The formidable guitar-playing combo, led by the irreplaceable and empathetic David Gedge, was scheduled to perform at 11:30 p.m. on a moderately large stage, to offer a conventional concert, so to speak, but four hours before they offered a session of something priceless for more than half an hour, five meters away from the public and playing and singing new songs and some of the classics that have made them great like A million miles, Make me smile or My favorite dress. A luxury with all the words.
