Sunday, June 26

Aitana captivates at Sant Jordi with her kind pop aura

A pandemic has emerged Aitana more musically defined than the whimsical ‘triumph’, still in the process of cooking, which made her soloist profile known in that summer of 2019. Determined by a pop-rock record of attractive choruses and fighting guitars, she showed herself this Saturday using her ’11 Reasons’, that album whose central song gives arguments to bite the bullet after leaving behind an unsympathetic relationship: “Let me give you back the roses that are poisonous / and take all your butterflies, they make me nervous,” he sang, without hesitation, opening the session in his back to Palau Sant Jordi.

Full room, with 13,200 people according to the organization (format of chairs on the track and, therefore, without the requirement of a covid passport, although it was requested at the drink stalls) and a family court audience, with an abundance of children’s bangs in honor to the artist. Aitana Ocaña Morales, blue dress with a skirt in the wind, entered wrapped in rock chords reinforced by the work and grace of two trained guitarists, Guillermo Guerrero and Laura Solla (this was in the pre-pandemic member of the last version, Galician, of the group originally British Immaculate Fools). Expedited support to accompany the singer from Sant Climent de Llobregat in her songs of personal determination and in their taunts to toxic loves.

Estopa fan

Aitana played at home and made it known that there was “a lot of family” at Sant Jordi, the “blood” and the extended ones, and recalled her first forays into the room as a fan of Estopa. “I remember thinking ‘I want to be up there at some point in my life,'” he slipped, and he made a request: “that you enjoy, that you cry, that you jump”, we do not know if all at once.

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A guitar pop dominated, contrasted by the somewhat childish voice, although well modulated, a bit in the wake of Nena Daconte, with melodic hooks on songs like ‘Corazón sin vida’ (which conscientiously shoots the text of ‘Corazón partío’, by Alejandro Sanz) or ‘X, entitled this, like others on the new album, with a mathematical symbol a la Ed Sheeran. PBut reggaeton has not completely disappeared from his life, and there it was, for example, that ‘Telephone’ in its disputed day, now more organic, with less electronics and the beat of the battery.

With his idol

And in the section of ballads, very classic and with ‘power’ hits, a surprise: Pablo Alborán, entering the scene to give him the refined reply in ‘Ni una más’; song “about inequality”, she presented it. At 22, Aitana retains something of the fan that does not come out of her astonishment at sharing the stage with her idols, although she threw a shovelful of years on Alboran when she introduced her: “You know I have admired you since I was little.”

The editorial ‘tempos’ today are fast and Aitana is already thinking about her next album, as she let us know, to which pieces such as ‘Berlin’ or ‘Formentera’ will go, the latter suggesting new approaches to electronic sign. At Sant Jordi, the stylistic twists were very nuanced and did not complicate the effervescent dialogue with the public, ignited when Aitana introduced other guests: the Valencian Zzoilo in ‘Mon amour’ and the Colombians’ Cali & El Dandww in ‘+’. They accompanied an artist who seems to have known how to build a diaphanous bond with her young followers, devoid of divisms, over-acting and hysterics, using a manageable aura and offering herself as a mirror.

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