We have all become so serious that the theoretical great musical event of the week in Madrid was encouraged by a television platform. Fox gathered at the Barceló Theater on Thursday more celebrity scouts than music lovers with their good triennia of legitimacy, but that is the sign of the times, that our long-time resident of Paisley Park would say. And the fascination –surely deserved- around Vis a vis led a meeting blessed by its "unique" and "unrepeatable", although it should be noted that the reissues are only unviable for metaphysical reasons, not logistics.
Najwa Nimri it has become an emblem of polyhedral talent, to the point that nobody discerns whether it is an actress who also sings or the other way around. Her role as Zulema in the prison series and the fact of caressing the Goya as the protagonist of Who will sing to you In recent months, the most audiovisual profile has been propped up, but it is very difficult to deny him the sonic legitimacy as soon as he sees it, sophisticated and magnetic, taking over the stage. And as soon as we certify, and this is even more meritorious, it is not fulminately scorched and annulled by the proximity of Ana María Rodríguez; a ravishing woman, a virulent hurricane of courage and wit.
Najwa Nimri It has become an emblem of polyhedral talent, to the point that nobody discerns whether it is an actress who also sings or conversely
The singular encounter between Najwa and La Mala, that not in vain did he sink his teeth into Vis a vis to the subject Agnus dei, it was raised as a mash up of three-quarters of an hour directed and orchestrated by producer Carlos Jean behind the machines. The Anglophone neologism refers to a collage or compilation of disparate songs, although some experts in electronic music among the audience murmured much more sympathetic translations, than not erroneous: concoction, hodgepodge, rehash. The formula is successful, and even successful, if it follows the parameters of prudence. Jean wisely put the brake at 45 minutes, and even then there were many spectators immersed in the very Madrid vice of social gatherings with background music. You know: it is what there is.
The confluence was guided by generosity with its two participants, although it was Rodríguez's repertoire (Gypsy) the first to appear and, surely, the most privileged. No problem, and even less on the eve of a 8-M that floated in the environment and it was the sign of a desire, of a cry: let's stop at the top of the ladder, let's break the excesses of testosterone, let's love ourselves as we wish, but from the commitment of equity. It seems simple, almost elementary, but there is no way. And we may even get worse. That's why you have to have the special grace of La Mala to shout "Eat me the pussy" and that the outburst sounds much more challenging than foul. Like Nimri would play a little later, "was there any doubt that La Mala is the boss?"
Rodriguez alternated singing and rapping while a giant word "Force" flashed from the back of the stage, in an obvious episode of redundancy. Najwa draws higher returns with this aspect of his enigma and purr, mystery impossible to cover by a mere cataract of epithets. His taste for subversion goes far beyond deciding to turn on the well-known pitillito on stage. The anti-smoking law is a blessing, but we will allow it to symbolize in this way its limited attachment to regulations.
Waiting, from the last Najwajean project, gave way to At night, that initiatory success of Mala that warned, prophetic: "I do not practice repentance / My temple has a foundation". "A strong noise for Najwa. I can not hear you, you sons of bitches! "Our gypsy from Jerez harangued while the adjective" Bad "(Why not" Mala ", and never better occasion for it?) Gleamed on the giant screens. Still missing the encores, that Nimri took the opportunity to recreate his classic Crime in a very nude version before going to that Crazy life of Pancho Céspedes. A seemingly maddened spontaneous then invaded the stage to embrace Nimri, but it turned out to be … Alba Flores! And there were even more actresses than we met with the yellow jumpsuit while La Mala gave the most obvious final party: "We were always strong, you do not come down …".
In the end there were no versus between Najwa and Mala, but a clamorous connivance. Because both, from their manifest differences, share the very fraternal condition of free verse. And because theirs is power, gentlemen. Pure power. Even more resounding and euphonious than the empowerment.