Nobody would mention it as one of the most severe consequences of the pandemic, because all this escabechina has been terrifying enough not to emphasize circumstantial matters, but last night we realized that the damn bug has also punished us with his good 19 months of very severe diet of Vetusta Morla.
Neither they had the fallow, nor we had the withdrawal syndrome, but thus, against all odds, this story has been written.
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Las 10 de ... Vetusta Morla
How the song of Vetusta Morla was composed to support the health workers
In the absence of definitive arguments for the joy, the face-to-face that destiny gave us this Monday had many succulent ingredients. For now, the absolute premiere of Tres Cantos at the solemn and ceremonious Royal Theater, a circumstance that will be repeated this Tuesday. And, with them, the opportunity to listen live to that
Finisterre
that, in the absence of the calendar getting closer to autumn, is the only advance that we know for now from
Cable a Tierra,
which will end up being the new album of the sextet .
Because Vetusta Morla, surely the most important group that Spanish rock has given in the not so young new century, has decided to reinvent itself with a nod to traditional music, perhaps the best thing that could happen to our ignored peninsular folklore to shake off the heavy melancholy of one who offers succulent dishes and only receives indifference or, worse still, the firm disdain of ignorance.
Vetusta Morla, surely the most important group that Spanish rock has produced in the not so young new century, has decided to reinvent itself with a nod to traditional music
Be careful, that neither the
old men
are folklorists nor have they thrown themselves into the pool of ethnomusicology to rearm their repertoire.
But attending a display of tambourines and square tambourines in the sound arsenal of a band that next June will perform before 60,000 souls at the Wanda Metropolitano is much more than Agapito Marazuela could have dreamed of in the most euphoric of his nights.
Pucho, vocalist of the Vetusta Morla, plays the tambourine during the performance.
A. Pérez Meca / Europa Press
For now, those who could witness yesterday's reunion amounted to only 1,300 souls, three-quarters of the operatic capacity. It was weird not getting up even with that of "The universal bomb falls on you"
(What makes you great), the
first chance of the night to shout, but we have already become accustomed and resigned to hieraticism. It is what it is. And it remains to be seen how we walk in spirits and muscles when we can get rid of all this nightmare. By that time, from what we inferred last night, there will be a temperamental, lively, emphatic, sweaty and ravishing concert by Vetusta Morla. The medicine with which to shake off all this uneasiness that has come to rest in our bones and even in the last recesses of the soul.
Those who could witness yesterday's reunion amounted to only 1,300 souls, three-quarters of the operatic capacity
This summer and supervening tour has been conceived, explained Pucho, as a lifeline for the dozens of technicians who the coronavirus left with their asses in the air, in a lurch that has been said very little these months.
It is surprising that a band used to moving through the stratosphere, in terms of artistic and impact, has not renounced class consciousness.
Nor to the effort to pester, a rare custom in these times when the anger and virulence of others so often make us timid.
“Are we at the Teatro Real?
In a royal sense? ”, The singer and spokesperson wondered, to answer:“ It will be unreal, because there are little things that nobody believes anymore ”.
Another moment of Vetusta Morla's performance at the Teatro Real.
Pérez Meca / Europa Press
Nothing like a bit of vitriol to ease tension, no doubt.
"Tonight, some boys are going to get on and do some
songs
at the Teatro Real," Guille Galván, one of the group's guitarists, had joked on social media in the middle of the morning.
Tonight, some boys are going to get on and do some themes at the Teatro Real.
- Guille Galván (@galvanguiller) July 26, 2021
Saying that all concerts are important in the history of a band sounds as cliché as "football is football" with which good old Bujadin quintessentially his football wisdom. Let's assume some relevant facts, for not telling us milongas. What
happened
yesterday at Real was a big day in the chronology of the
old men,
who had never seen each other on a stage with so much ringorrango. And butterflies in the stomach do not flutter with the same intensity in all cities, no matter how asepsis or diplomacy invite some musicians to argue otherwise.
So it was necessary to deal with vertigo and stage fright, although Vetusta Morla accumulates so many hours of flight - actually, high-flying - to know that turbulence never completely destabilizes the apparatus.
The advantage is that, freed for once from the dynamics of publishing one album and touring with it until the next one is shaped, the boys were able to indulge in the enjoyment of a greatest hits concert, with the sole exception of that
Finisterre
placed in the exact meridian of the night and magnified with the exceptional presence (in all senses) of four members of El Naán.
The only Spanish band capable of filling stadiums had to arrive to alert us to the danger of not having our feet firmly on the ground
Some may not yet be familiar with this band based in Tabanera de Cerrato, a remote little town in Palencia that does not even reach 150 inhabitants.
Their atavistic voices and manual percussions on a bread kneading table symbolized precisely that grounding of which we are so in need, the connection with everything that truly portrays and defines us as ephemeral inhabitants of this blessed planet.
The only Spanish band capable of filling stadiums had to arrive to alert us to the danger of not having our feet firmly on the ground.
Another detail of Vetusta Morla's performance at the Teatro Real.
Pérez Meca / Europa Press
Amazing.
The rockers most legitimated to act as idols of the masses collude to show that principles are much more important than fleeting glory.
To write his most unequivocal handwriting in
Los abrazos prohibidos,
a tribute to health workers received with a long standing ovation and some shout in favor of public health.
Or to introduce in the very festive
Saharabbey road,
a plea for diversity in front of those who want to take it away from us or, suddenly, they become very pudgy when the lips of two boys brush on the cover of a weekly magazine.
Definitely, the six architects of Vetusta Morla play, in front of the lights or away from them, in another league.
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