Sun. Oct 13th, 2019

The Cure brings immortality to the closing of the Mad Cool



Adrenaline in trucks has unloaded the day of closing of the quarter Mad Cool 2019 thanks to bombings like that of Prophets of Rage, before The Cure provide the necessary dose of immortality before the maximum capacity of this edition, 50,000 people, according to the organization.

With a more benevolent temperature than in previous days, the strength of the poster this Saturday speaks of the fact that from 18:30 hours thousands of people were already milling around the concert of the emerging value of Johnny Marr, who has finished in style with "Take Me Out" by Franz Ferdinand.





It has also been a day of empowered women, in which Cat Power, from the sobriety, has transmitted emotion singing "Great waves" or "In your face", on the verge of crying almost at the end.

Jorja Smith, turned into the absolute queen of the third stage, has also gathered thousands of hips rocking to the rhythm of her R & B with urban dressing. With a very careful scenography, the young British promise has offered a unique show thanks to themes like "Teenage fantasy", "Blue lights" or "On my mind".

Meanwhile, Beth Ditto left open mouths in front of Gossip, even with his self-confidence (he has not hesitated to get rid of the wig or change the costumes on stage: "I'm roasting alive!") With a vocal torrent capable of knocking down walls.

"My voice is dust," he said with little credibility. However, that was the reason why his concert ended 20 minutes earlier than planned, but only after turning Mad Cool into a nightclub, briefly versioning "Psycho Killer" of Talking Heads and reviewing dance-rock breakers as "Standing in the way of control" and "Heavy cross".

The cursed coincidences have been constant this Saturday, and so, when Mogwai jumped on stage 3, Prophets of Rage did the same in the 2 with his download of raging hip hop and fists raised to the sound of "Heart afire", classics of the genre as "Jump Around" and a crazed Tom Morello ripping the guitar with his mouth.





Between jumps and pogos and behind a screen where you could read "Make Spain Rage Again", the adrenaline rush has been assured with this supergroup built on the talent of Cypress Hill, Rage Against The Machine and Public Enemy and his has been the bombing revelation of the day, as Nine Inch Nails was last year.

In parallel and by surprise, Tomasito let himself be seen and wanted on the same track of bumper cars that stormed Los Chichos a day earlier, while The 1975 did the same among the millennial millennial of the festival, gathering not a few acolytes in front of The Cure.

Three years after reuniting with Madrid, then in an enclosed space and as the sole protagonists of the evening, it was necessary to verify if those of Robert Smith would be able to repeat in a festival that feat tailored to their legend and if the audience, this time with many casual listeners, he would let himself be seduced.

When the 40th anniversary of the release of their first LP, the post-punk classic "Three imaginary boys" (1979), have chosen to offer a tasting with the best of their production.

At 23.25, with a slight delay, the main stage was lit to receive in a modest silence the band, who have started the concert with the candidness of "Plainsong".





The timeless reverie has continued with "Pictures of you" and "High" and has led to the abundant public talludito that has come only today until here to sing "Lovesong" for balsamic and rejuvenating purposes ("You make me feel like I am young again "), perhaps seeking those energies that allow Smith to continue to sound like a 30-year-old man.

With renewed vigor the rhythm has intensified, after passing through "Fascination street" or "Never enough", until deriving in a cathartic celebration to the rhythm of "Just like heaven", with which a sky has opened that shortly before threatened storm .

Although it has been done to pray, for dessert they have condensed the best of their personal touch, starting with the gothic "Lullaby" and ending with the "new wave" of "Boys do not cry", without letting escape between half pieces like "Friday I'm In Love".

The offer of Mad Cool still included other places to stop, to highlight Greta Van Fleet's coming-out in Spain, a young band with a taste for old hard rock crafts, which this year He presented a Grammy to the best album of the genre.

Terrible has been his complete coincidence on the big stage with another of the important tricks, the Swedish Robyn, one of the artists who has dignified the most pop in the last decade with hits like "Dancing on my own" and that did not go through the city ​​for centuries.





His expected final album, "Honey" (2018), was also among the best of the past year around the world and he has delivered the blonde artist, but only fair with songs like "Missing U", without leaving out " "previous" hits like "Indestructible" or the last beat with "With every heartbeat".

This is the end of the fourth Mad Cool, a bittersweet edition that has been musically singing more and more but, even with one more day, has reached 186,000 spectators, leaving the way to more than 50,000 compared to 2018, that on the other hand has resulted in greater comfort.

The organization, which blames the alleged lack of a poster to the absence this year of top-level figures on tour, has improved in many production elements in the festival and has assured that the 2020 call is already working for, as say the name of this appointment, go crazy again to the people of Madrid.







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