queues. In the stands people look for their seats and the track is a field of heads and fans. It’s almost ten o’clock and the expectation is absolute. Muse’s The Small Print comes out of the stage speakers and a female voice announces the countdown to the start of the show. The soundtrack fades out of tune with what will come next and, suddenly, the giant’s eyes focus on the mute public, who now don’t know where to look.
Mobile screens bring attention back to the grand structure and the screams spread as the intro begins to play. The band takes its place and Antonio Orozco, dressed in a white suit, appears energetic on stage. He is in charge of closing the sixth edition of the Terramar festival, an event that has been installed from July 28 to August 9 in the Terramar gardens in Sitges.
Revolución (2023) enters at full speed and more rock than in the recording presented a few weeks ago. It is the latest single released by the artist who recently announced his return to the stage. The screens, like a sea of ??stars, appear again and the audience follows the lyrics of the song in unison. Hoy (Aviónica, 2020) enters with a rude guitar riff without leaving room for a welcome greeting. Rock and roll is served.
The night begins in style and without leaving aside the funnel of emotion that the singer has had to contain in recent months. He is free and calm on the stage that he has made clear is his. Look at yourself (Destino, 2015) recovers its past with flamenco verses while the guitars inflate with each measure. “How nice it is to understand”, with Orozco in front and the audience as a cushion, is the beginning of an energetic Ya lo sabes (Renovatio, 2009) that the band prevents from softening. All the hands follow the rhythm of the song and the protagonist withdraws to observe the print.
Dark. Now the attention falls on tuning the ear and paying attention to the child’s voice that speaks of a grandfather. The structure hanging from the ceiling of the stage is illuminated in blue. Orozco has taken advantage of the darkness to take off his jacket and begins to sing A vuelos (Aviónica, 2020). He is the Pied Piper and nothing decays if he leads the crowd. Next, a renewed version of El viaje (Seed of Silence, 2001) where the band plays with the famous riff of Seven Nation Army from The White Stripes. The “lo-lo-lo” intoned by the attendees proves to have captured the reference instantly.
Antonio Orozco’s first speech is to dedicate Que me queda (Renovatio, 2009) to the Sant Joan de Déu hospital. The faithful close the song with raised hands and the final phrase, “look no further”, as their motto. “I knew tonight would be special, but I didn’t expect it to be the most beautiful night of my life,” he says. He distributes bottles of water among the first rows of a black bucket that had gone unnoticed and promises not to go on too long in speeches. Play at home today.
It sounds Depends, by Jarabe de Palo, a song that the protagonist covers as a tribute to his dearest friend Pau Donés. The public is in charge of the choirs and a security guard zooms in with his mobile to record it. Although there has been some small detuning in the main voice, it has been a teardrop. The singer’s effort to place each note correctly is covered by a sharp sound that from time to time makes it impossible to understand what is being played. Over and over again (Antonio Orozco Edicion Tour, 2005) they make the structure of the stands tremble.
A beating heart sounds and the stage lights highlight the pulse. Trembling (Dos orillas, 2013) starts with the voices of the band that sustains the main melody. The song transforms into a slow, elegant and epic reggaeton. “This looks like a ship” someone shouts from the stands. It will arrive (Dos orillas, 2013) forces some not to repress any movement and, like a contagious virus, those who had not shown any sign of dancing also join them. Orozco announces his withdrawal with I will wait for you (Seed of silence, 2001) which ends with a jump to culminate the finale.
Nobody leaves the space until Orozco, alone and in slow motion, returns accompanied only by his guitar. The first words of Devuélveme la vida (Seed of Silence, 2001) hook everyone creating something very special. I am made of bits of you (The beginning of the beginning, 2004) ends with thanks that distract the public to enter a wall piano that will accompany My hero (Destiny, 2015) and the song dedicated to his daughter Antonella.
“Tonight you have sung very loud”, Orozco says excitedly. Between leftovers and leftovers I miss you (Avionics, 2022) and endless applause with U2’s It’s a Beautiful Day slipping through the speakers simulating the end. It seems that the staff prevents us from playing any more songs, but Orozco wins and shakes again with a new hymn. Today it will be (Destiny, 2015) and What you want I am (The beginning of the beginning, 2004) are the ones chosen to close, now yes, the last night of the festival. The communion between musicians and public is undeniable, demonstrating once again that Orozco is a stage animal.
