Any of the thousands of tourists who immersed themselves on Friday in the Fira Gran Via stages, found themselves early on with an audience devoted to clapping and quejíos, amidst much sweat. It was not the typical electronic music that later great international artists like Bonobo, Moderat or The Blaze would offer. C. Tangana was devouring the first concert of the night with his overwhelming show proposal, Sin cantar ni afinar tour, a mix of live music video and limitless party.
Between brilli brilli and festival shirts, there was a predominance of locals and all of them were completely surrendered, even frenzied. And why wouldn't they be. Hits like Demasiadas mujeres, Ingobernable, Tú me dejaste de querer, Comerte entera, Me maten, Los Tontos or Llorando en la limo were accompanied by a production that seemed like an audiovisual product, with C. Tangana being the protagonist of his own party on stage, among bar tables, musicians and supporting actors, all of them, under the orders of a plot that served as a common thread. The audience was the casual guest to all of it and could even let loose, when El madrileño allowed them small pleasures, like putting the lights on in Slomo mode so they could be transported in fractions of a second to a nightclub and go with their flow.
Many of the foreigners who had ventured into the crowd soon left, aware that this was what is called typical Spanish and very intense. Some stayed to listen, although it is true that a little more static than the vast majority, but also fascinated by the musical display with which C. Tangana complemented each song. That is, the usual luxury guests who accompany him on this tour and who became internationally known in the Tiny Desk, such as La Húngara, El Niño de Elche or Antonio Carmona. The one from Castelldefels, the acclaimed Alizzz, was missing.
Even Puchito himself was a little surprised to be playing his music at a festival like Sónar. In a break between songs, he addressed the bartender who was serving them one drink after another ---and also drinking them---, surprised that it was him and his gang who were there. And that's when he pulled out memories. "The first concert I ever gave at a festival was at Sónar," he began to recount, "it was at half past three in the afternoon and there was no one there." The kind of statements with which fans fervently surrender to their adored one to remind him that he, now, is already the headliner.
A case of exponential growth that served not only for him but also for the other great protagonist of the night. Another emerging artist at Sónar a few years ago who has returned as an undisputed leader: Nathy Peluso. Knowing that both artists were playing on the same night, the bets before entering the concert were to find out if: a) They would sing Ateo together; b) Which of the two would appear at the other's concert. Aware that it was a heavy doubt that pursued the audience, C. Tangana and Nathy Peluso gave an answer soon, with the appearance of the Argentine singer based in Barcelona in the fourth song of El madrileño's concert. Little to say about the complicit bachata they performed on stage, reproduced with intensity by the audience. It didn't matter that there hadn't been time to get a drink and that the heat and sweat, both their own and others', invaded the entire atmosphere. With Ateo, one can only surrender to what comes.
But that was not the only time Nathy Peluso unleashed euphoria at Sónar. She had already done it the night before, starring in the festival's inaugural concert, and she did it again after C. Tangana's concert. In some fair pavilions further away and outdoors ---much appreciated---, Nathy Peluso threw her other party. Sinuous, sensual, overwhelming. It didn't matter that Pucho and his crew had set the bar so high that some even wondered if it was worth staying at Fira. The Argentine's show combined perreo with ballet, jump rope and body pump class steps. Everything seduced and heated up the atmosphere.
The audience, increasingly animated as the hours passed and drinks accumulated, tried to keep up with her, going down as far as their legs allowed, but they soon realized that Nathy Peluso's performance is not human. "Barcelona, I invite you to spend a magical night." Magical and whatever she wanted and decided with Celebré, Sana sana, Sugga, Puro veneno, Business woman, Mafiosa or Corashe. And the already universal I'm a nasty girl, fantastic was not missing. Knowing that there is no better way to win over locals than with a classic, the multidisciplinary artist closed her concert with her version of Camilo Sesto's Vivir así es morir de amor. And, well, you can already imagine how its stanzas echoed in the Hospitalet night. "Barcelona, I love you," she concluded amidst mobile phone lights.
Knowing that there is no better way to win over locals than with a classic, the multidisciplinary artist closed her concert with her version of Vivir así es morir de amor by Camilo SestoWith all that, those who had arrived at Sónar almost by accident, atheistsof electronic music, surrendered after listening to C. Tangana and Nathy Peluso, could do nothing more than stay and let themselves be carried away by the multiple attractions of the festival.Set in a denaturalized and industrial space, decibels and rivers of people invaded every corner of Fira Gran Via, stripped of its omnipresent tie-wearing congressmen and its more serious exhibitors and carpets.Friday night not only featured big names, but there was also space to get lost in the Sonar Car, covered in red curtains, kind ofTwin Peaks, and to do it for six uninterrupted hours. There were even leisure options to get an adrenaline rush ---if anyone had any left---, like the bumper cars in pavilion 3, right where the best Mobile stands usually are in winter.
And, not wanting to be less than other festivals in the city, there were also queues. At times, it seemed an impossible mission to be able to load the wristband, with long lines that moved slowly and their members knowing that, when they overcame them, they would have to wait again to have dinner and be able to drink something, an always basic need, even more so in the middle of a heatwave. Likewise, with C. Tangana opening the night, there was a bit of chaos to arrive on time for his concert, with unusual crowds at Sónar early on, according to the most experienced. The artist, as a good connoisseur of life's bitter moments, delayed his appearance on stage, enlivening the wait with Dolores Vargas's Achilipú or something by Morad. For those who would have wanted the rapper from La Florida to appear with Puchito after that preview, they will be able to see him this Saturday at Sónar by Day. As C. Tangana and Nathy Peluso were at the time.
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