Bad Gyal’s fourth album is about to be released, including the three previous mixtapes, but it will be his first official album. It will be called La joia and the title is one of the few things that Alba Farelo (1997) has revealed, although in a recent tweet he announces the possible songs that will make it up, a dozen, including the previous singles Chulo, Sin carné, Sexy or Real G, his collaboration with Quevedo. There was no lack of it in the concert he offered at Sónar, nor was his new single, El sol me da, which illustrates the famous summer advertising campaign of a beer brand, also the main sponsor of the festival.
She arrived at Sónar, after her time at Primavera Sound in Madrid, at the beginning of a Summer Tour that will take her to several festivals in the Peninsula. She is presented accompanied by a dance troupe made up of four girls and two boys, who roll her up and carry her on a tray in a show in which all the music is pre-recorded and in which she made a sensation, focusing well on the screens , that even some vocal parts were playback. But this detail was not very important for the devoted and numerous audience that filled the SonarPub stage, dazzled by the power and perreo of a Bad Gyal that offers its condensed repertoire in medleys of two and three songs. In the first, Blin Blin stood out and in the second the Pussy that he recorded with El Guincho. His sound system took on cruising speed with the series that gathers Sin carné, Tú eres un bom bom and Chulo.
Divided into blocks, illustrated by videos, he continued to stir the bread in the explicit Tremendo culón before stretching to accentuate the lascivious tone of an Aprendiendo el sexo in auto-tune key. From time to time he incorporated unreleased material into the mix. Arriving at Candela and Kármica, it had already become a perreodrome. There was no shortage of Santa María, with her devotion to smoking weed, or a cover of Destiny’s Child’s Survivor, before addressing the much-celebrated and empowered Zorra. Then he danced on top of mobile platforms and sat down to remember the old Yo sigo igual, which includes stanzas in Catalan.
The final stretch was used to promote El sol me da, a candidate for song of the summer, and to put on deliciously with Qué rico. The perreo reached combustion with the dembow and dancehall of La prendo, with stanzas that say “I’m the one who kills” or “I make them stop always crazy with my flow”. She’s absolutely right, she’s the absolute queen and also very Sexy, another song that the audience loved. To top it off, New York (Tot*) was reserved, and it reached a climax that still experienced two other joyful moments in the encore, with the reggaeton of Alocao and a feverishly sung Fever.
Samantha Hudson completed her stellar run at Sónar with a performance in the SonarCar stage section, called AOVE Black Label, which served her to present her new EP and immerse us in an irreverent and fun work that mixes idyll Theatrical songs, unappealing machine rhythms, a sense of humor and explicit lyrics that test the most sophisticated minds. Thus, she has no problems presenting herself as “the empress of filth”. Accompanied by three dancers and with the pre-recorded sound, she also rescued past hits such as Burguesa aruinada.
Another one to consider is La Zowi, who came to Sónar to present her brand new compilation La Reina del Sur, an empowered album full of obscene rhymes in which she talks about her bisexuality using reggaeton, dembow, dancehall and some touch flamenco, like the deconstructed palms that serve to illustrate the Chill theme. Using every two by three the word puta and accompanied by four dancers and a DJ, he recalled the theme Apocalypse, which he recorded with Leïti Sene, or a Matrix with a refrain that repeats “I’ll take your milk out of the Porsche”. Cheeky and also with a good flow, it showed why it has become an icon of the urban scene, with a strong temperament that shows the rawness of street trap.
