There are examples in abundance of inanes songs. They can be more or less indicated for the humming exercise, but they are irrelevant. Evanescent There are also more substantial, those who without dreaming of immortality aspire at least to the footprint, to the scratch. And we still have those that shake, those that shake consciences, those that stand as a knock on our comfortable condition of Western Earthlings, human beings with reasonable ability to provide sustenance and face the bills, some superfluous, each end of the month. Many of the ones that rang last night at the Municipal Palace of Congresses in Madrid belonged to this last category. And it could not be less, deciding how the first national concert against gender violence. That nightmare, that murderous anachronism. I wish it were never necessary to call a second edition, I wish there was enough music to placate so many beasts.
It was almost full in the auditorium of the Campo de las Naciones, but some gap was glimpsed in its 1,800 seats. Maybe machista crimes still do not provoke so many hashtags like the patriotic squabbles, this is how they take each year more than fifty women. Compatriots, of course, of you or your neighbor, despite which there are those who still do not find enough reason here to wave the flag of solidarity, but that of suspicion.
Let's act !!, with its emphatic double admiration (and that the RAE for this time forgives us), was the appeal to the polysemy that served as the title for a night of interpreters, but also of agitators; of leaders and leaders, of women (and men) who are not satisfied with writing mere melodies, but revulsives. Sole Giménez refreshed to open her mouth The woman who moves the world, honest feminist anthem of his years at the head of Presumed Implicated. Amaral opted for an old classic from 2002, Run out, about a friend of the duo victim of mistreatment. "We thought that in 15 years society would have changed, but here we continue, talking about this," lamented Eva Amaral. "All the songs refer to the same thing, because the victims are not alone and we have to act," Alondra Bentley corroborated before spreading that fragile and beautiful voice of an angel.
We thought that in 15 years society would have changed, but here we continue, talking about this
Some artists who could not adjust their agendas (Pasión Vega, Mala Rodríguez, Lucrecia, Estíbaliz Uranga) sent their messages by video. And others did not need parliament as much as the attitude to express a rich ideology. Like Carmen Linares, who gave away Go ruckus, symbol of that Lorca's Spain that will never be understood by the patriots of fuss and testosterone. O Estela de María and her call for reconciliation between motherhood and work. Or Rosario la Tremendita, half wavy hair, half shaven skull: a less courageous appearance even than her status as a cantaora with an electric bass.
The night ended up extending beyond three hours, because with so much bustle of entries, exits, adjustments and relocations some downtimes are inevitable. But the menu was varied enough so that there would never be a lack of incentives: from the song of high school author (difficult to think of men as exquisitely sensitive as Pedro Guerra or Jorge Marazu) to the synthesized pop of the Chilean Soledad Vélez, the bolero's voice romantic that Lorena Gómez exhibited or the candid conscience of young Teruel Junior Ferbelles.
All the songs refer to the same, to which the victims are not alone and we have to act, "he corroborated
Paco Damas recovered the voice of the forgotten women of the Generation of '27. But no voice sounded as firm and courageous as that of Cristina del Valle, capable of inflaming the stalls with a speech without hesitation. "Women do not want charity, but justice," he roared. "50 percent of the population can not live in the periphery of rights." Marcos Rodríguez, the other half of his duo Amistades Peligrosas, took the opportunity to premiere a song about love between two septuagenarian women. A symbol that the LGBT movement has also served to remove consciences and throw away so many rooms and closets in which the air had stagnated and become rarefied.
I am, the internal dialogue with which María Peláez portrays a free woman, served as a preamble to the last block, the one with the highest concentration of popular names. There Mariposa Effect (and that pungent verse, "To love me and I love me"), Huecco (the most overwhelming and participatory of the evening) or Andrés Suarez, who before I'm 26 He confided to us a moving episode: "My mother organized the first university demonstration in the old Ferrol del Caudillo. He literally broke his face. "
Rozalén, who had already appeared for a duo with Huecco, closed the poster as a new certificate of ubiquity and excellence can be given for once the hand. The Albacete took the last signs of enthusiasm, above and at 23.30, with 80 times Y The violet door, and its rejection towards those who "try to turn the arguments around". He summed it up with a crushing truth: "that we can go running without fear of our parents." Just before, Victor Manuel had rescued a thrilling piece of three lustrums ago, The club of the dead womenuncomfortable piece (like his other contribution to the night, She only knew how to let herself be loved) who has never compromised with silence.
"Of all the possible revolutions, the only one that is coming out fairly well is that of women. The day they are economically independent, the streets will be full of abandoned men, "argued the Spaniard with a serene throat and heart in his fists. Of other revolutions, for now better not to mention. But in this, at least, let the bloodshed cease.