There are not many things better than the great songs of Aute, but among the exceptions we will have to consign the love that those same pages encourage. We checked it last night at the WiZink Center in Madrid, where a tribute concert was not so much resolved as a collective act of devotion. It is not hyperbole: we have the endorsement of almost 12,000 witnesses. And they will be adding many thousands more, since this collective tribute that last night lived its premiere, 'Courage, animal!', Will visit at the beginning of next year Barcelona and Valencia before making the Americas.
At this point, the work of Luis Eduardo Aute sister as there is no way that we twin almost nothing in this country. And there are hardly any examples of sensuality, depth and poetic integrity such as those that this animal of the song and its derivatives, from painting to sculpture or cinematography, has been offering us for five decades. "How many people, we will love you!" Ana Belén summarized eloquently, one more in the highly qualified list of admirers who yesterday reviewed some of their most frequented scores. She faced On the way with conviction and rotundity such as for the echoes to reach ears, hopefully, of the signer himself, who resides a few blocks from the pavilion.
Luis Eduardo was paralyzed with a severe heart attack on August 8, 2016, when he returned from a concert in Huelva. He remained in a coma for a month and a half and since then he has embarked on the daily struggle of the slow improvement. Surely the collective breath will contribute in that direction, because the energies scattered last night can not simply vanish, but transform (do not say that the laws of physics?) In a gigantic healing embrace. "If I dedicate myself to this, it's because of Luis Eduardo. I should be in the front row! ", Sinceró, for example, the singer-songwriter Andrés Suarez Ferrolano before giving an account of See you again.
There were many shocking moments in a night not only felt, but very well planned, with hardly any breaks between artists and surprises like the thunderous irruption of Calanda's drums through the central corridors of the track. But the best thing was to see the mime with which the friends resized some of those more than 500 songs that bear the signature of Eduardo. Dani Martín won forever adult credibility with a very nude and emotional version of Four ten, An Ismael Serrano with a black leather jacket 'Brazilianized' gracefully Look, you're a scoundrel, Miguel Poveda unraveled the flamenco character of I prefer to love and Drexler knew how to sharpen the roguish and playful background of Slowly Rozalén's tears came before she even addressed The beauty. But few like Víctor Manuel (Without your heartbeat) to sound himself without the tribute losing meaning.
And in between, of course, the emblems. Rosa León recovered her gaze from At dawn (José Mercé would sing it too) leaving the stands to shriek with a chorus that is not only a melodic construction, but a signifier of an era and a commitment. Massiel was reunited with Roses in the sea, that she made popular makes a whopping 52 autumns. And there was still the definitive avalanche, that substantial triple S (Sabina, Serrat, Silvio) before which there would only be a silence in the form of reverence.
Rodriguez rescued the most astonishing ode to onanism, 'Inside', just as Joan Manuel offered his tremolo to 'Somehow'. And Joaquin, who was returning to the scene (this untimely aphonia of June), endorsed his art hendecasyllable ("Saying Aute is passion in vein") before endorsing with 'Who is Cain, who is Abel' his return to the optimal sanding voice. But for endorsement, that of the timelessness of a repertoire of cyclopean grandeur. "The soul that animates you, animal of the soul, is damning," wrote Aute, and nothing so 'damning' as his writing.