For some it was already the fourth night followed in the Mad Cool and the feet weighed on the green carpet of the festival. But it was also the night of The Cure, the main course of an edition that has sailed on the feelings and opted for temperance and introspection in the hours where the festivals play it. And those of Robert Smith did what they know how to do, melt hearts and become nostalgic, and that we were already trained for the melodrama of the previous days. Before 50,000 spectators, they put the finishing touches to a valuable edition for the future of the event.
However, unlike other artists of previous days, as were the cases of Bon Iver, The National or The Smashing Pumpkins, the live performance of those of Robert Smith (60 years old) was vigorous and ended up heating up an audience that I really needed a shake by the lapels. Melodies and emotions in abundance later, The Cure moved and had fun in equal parts, because that is their main virtue and the second seemed to have forgotten almost all the highlights of this year.
Smith demonstrated full faculties as a singer and his band played at full capacity. Even in lesser-known subjects (especially in them) they prevented the disconnection with the public. As interpreters, The Cure are more than up to their songs and that's saying a lot. Perhaps the problem for the occasional fan of the group is that between the first hour and a half of their concert they fell just "Lovesong", "Never Enough" and "Just Like Heaven" and some energies waned. Part of the audience eventually deserted in the absence of their greatest hits. But that's how most of the "prime time" concerts have been this year: for acolytes more than for circumstantial partiers in search of adrenaline. In the end, nothing in the history of this event is easy, the glory must be sought. How would it be that, when they finished their set, there was barely any request for encores. Luckily, they went out again to give away, finally, "Lullaby", "Friday, I'm In Love", "Close to me", "Why Can not I Be You?" And "Boys Do not Cry" . It was like a stage of the Tour. Pedaling, suffering and hands up when you reach the goal. Everything in this place is achieved with sweat.
This Mad Cool does not close its brightest edition, far from it, but it does it with much in its favor. First, order and organization. Stability, shall we say, institutional. And with the advantage of having a more or less faithful audience despite the fact that this was a year of circumstances in which there were few large active tours. That is a great value for an event that aspires to tradition.
It is also true that far from the main focuses the level has been enormous. Jon Hopkins offered a bestial electronic performance to burn sole and showed that his is not only hypnosis but that he has wax to give and polish. The Prophets Of Rage started with pogos and ended with "Killing in the Name Of" in front of a poster that asked "Make Spain rage again". By the way, to announce a television series about Jesus Gil, a cable television station distributed hats with the legend "Make Marbella great again" in curious coincidence. Beth Ditto, of The Gossip was another of the brute forces of a day in which Delaporte and his album "Como anoche" called for a giant stage next year.
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