“This is the most important show of my life,” he warned. Fernando Ruiz Diaz when the performance of Machu Picchu. Before the clock at the back of the stage began its countdown, there were various interpretations of the band’s performance. The one the fans handled is that it was a tribute to Gabriel Ruiz Diazwho after struggling after the car crash that left him immobile in 2006 finally said goodbye to the land plane last year.
This is why among the public you could see homemade signs invoking his name. The other theory is that what was about to happen was the official band farewell, although some were unaware that it split or hibernated. Then came the skeptics and the curious, who braved the cold and stayed to see for themselves what was going on.
After two and a half hours of songs, guests and mixed emotionsthe conclusion that can be drawn from this is that Gaby’s death was the trigger for a recital in which the surviving members of Catupecu Machu revisited the group’s repertoire. Whether it’s the last or will open the door to another dimension, time will tell. Or maybe Fernando. The truth is that the group created in Villa Luro seemed more alive than ever. It was far from resembling a resurrection, despite the fact that there were almost biblical overtones throughout the show.
As when the eldest of the Ruiz Díaz brothers, who had become a kind of apostle chaining countless parables, even said (in one of the passages of the presentation) that he felt that his brother would finally be able to ride. Or when doing “Black Metropolis”, in which his face seemed lost in some sort of trance or religious experience.
This is precisely the label that best defines the closing show of Quilmes Rock 2022: religious experience. The concern was such that the finalization of the details came to generate a break in the story of Split, on the Rock Stage. In addition to “repatriating” the drummer april bland of Europe, as Fernando Ruiz Díaz had warned, this moment served to make peace with many unpaid debts. How to interpret together (with an omnipresent version of Gaby) their cover of “Plan B: Longing for satisfaction”, a classic of Massacrebeside Wallashis actor.
or invite Mr Flavio, one of the bassists who most influenced his brother, to interpret a surprising noise adaptation of “En los Sueños”, in which the leader mixed some passages from the album Lion, from The Fabulous Cadillacs. He even orchestrated the best pogo game ever seen “Go ahead!”.
Apart from Sosa, Julian Gondell and Agustin Rocino they alternated on drums (the first two played in a percussive head-to-head in the home stretch of the show). And they follow the passages of sticks in “Secretos passages”, “Dialecto”, “Whole or in pieces”, “And what I want is that you walk without earth” and “Magic poison”. If in the scenario of the second and last date of the festival, this performance of Catupecu Machu was the long-awaited closing, at least for the organizers, it was not the only reading. For example, a little before, while playing SplitIt seems that the 50,000 people who attended Tecnópolis on Sunday were concentrated there. There were also expectations about this narrative because it was the first of the power trio after the death of its historic manager, Jorge “Killing” Castro. But music heals everything and the Rock Steamroller unleashed his arsenal of songs for two hours.
Yes Airbag waved the Argentinian anthem on Saturday, this time Divided opened its presentation with a video from 2016 in which Ricardo Mollo performs the “Hear mortals the sacred cry!” with the Philharmonic Orchestra of Mendoza. Before the end, the musician appeared on stage and harangued the audience with his hands, which was very primed. Which was good because, as usual, the band got off to a good start. This time he did it with “Sports Parade,” which was followed by “Doing Strange Things,” “Almost a Statue,” and “Tanto Telescope.”
One of the many wonderful characteristics of the trio, in addition to their belief in rock, is his desire to redeem his ancestors and tell his legend. It happened before “Salgan al sol”, where Mollo explained that it was a song by Javier Martínez. They had previously revisited Sandro with “Tengo” and later Pappo with “Dirty and desprolijo”.
They invoked Sumo with “La blonde tarada” (laced from “Qué tal”), “Crua Chan” and “El ojo armorado”, they had their acoustic moment through “Spaghetti del rock” and “Par mil”, and displayed their power in “El 38”, “Ala Delta” and “Cielito Lindo”. Take it easy and Diego Arnedo they were also generous with the drummer Catriel Ciavarella, giving him free rein and protagonism to register his talent. Contrary to this energy, on the next step, the Quilmes, and going back to the different readings of the date, Nathy Peluso flaunted her poweras well as its consistency. There is no doubt that is about to become an Argentine and improved version of Gloria Estefan. And the truth is that he worked hard for it. Without raising any flag, other than that of art, he succeeds in synthesizing, contemporanizing and dramatizing the music again. An all-in-one that seemed lost, that strips it of labels.
His is as dazzling as Rosalía’s, so it will soon be another universal Argentina. It almost does, and without the help of Damon Albarn. But yes from collaborators like Bizarrap, whose session he has included in his repertoire. In fact, he is closer to C. Tangana, the one who took over “Ateo”. But his cadarudism, his lack of prejudice or his genius arrived at the end of his presentation, when he saved “To live thus, it is to die of love”, the eternal classic of Camilo Sesto. This brings together countless offspring, which was palpable in a performance where mothers and daughters united around the Spanish singer’s gesture of claim. Peluso has wonderfully decoded the drama that surrounds this generation of Hispanic ballads: he bears witness to this martyrdom in his songs and even in his performance. That rose between the lips, before facing the “Pure poison” sauce, that’s about it.
Whether at the forefront of guaguancó, trap, R&B or pop, Nathy Peluso is already a registered trademark. To like Richard Colman, who had a very good recital at the Claro Stage. Attentive to multigenerational circulation, the musician has put together a well-designed repertoire in which he presents a synthesis of his work, of Friction at the Seven Dolphins, browsing his recent solo material. And he left her hungry with “Lago en el cielo”, a cover by Gustavo Cerati.
Those who made another version in the same place, albeit this time with its creator, were the chinese bandalo. With Emmanuel Horvilleur, they sang “Llamame”, in an ephemeral show towards their new album. While Grass I broke it in the afternoon and pranksters at night, the Geyser Stage was crowned as the sensation of the festival. Besides the Vitola brothers, Barco and Pels, Wizards (pogo included) they made it clear. Or rather excited.