Primavera Sound 2012

No year that I do not feel attracted to the Primavera Sound. This festival, in its lineup populated by small / great artists of the alternative scene, manages to set itself up year in, year out one of the best available on the European scene. Big media like Pitchfork or Vice supporters, and hundreds and hundreds of artists speak wonders of the experience that is playing in a festival that begins to improve. The 2012 edition was presented in the most succulent possible: with many groups of all genres / subgenres, and and with some headline-stopping. We eager to discover what had prepared us Gabi Ruiz & Co., Pullmans from Thursday until Saturday night at the Forum to make the most of one of the best musical experiences can be enjoyed in our country.
It all began on Thursday May 31 at 18:00. After suffering the tail always inevitable for us to get a press pass to enter the grounds in a hurry. They really wanted to see Grimes, AKA Claire Boucher live, and with good reason, the Canadian artist has managed to establish itself as one of the surprises of last season, and was suspected live really interesting. Interestingly the first minutes of Claire in the PS12 started really bad, his team began to register as many glitches that had no choice but to wait for that fix it. This caused a small ripple effect that led the public to receive in a somewhat cold to Claire who was determined to blow the Pitchfork stage where I was playing. Fortunately the matter was settled fairly and we enjoyed some great times, like that which sounded 'Oblivion' entourage while the "hipster" Grimes took the stage to dance in unison with the dance single. The energy and good humor of Grimes could outmaneuver the bad sound Pitchfork Stage. Grimes 1 - Technical 0.
The return to Barcelona from Death Cab For Cutie was undoubtedly one of the highlights of the day, and therefore does not take too long to let us fall by the Mini scene to discover first hand how it sounded "Codes & Keys" Live . The tone of the performance was similar to that experienced in Grimes, but in this case technical failures were overcome by the boards and know-how of Americans. The setlist was not lavished far beyond the 11-12 themes, but there was time for punts instrumental ('I Will Possess Your Heart'), new great songs ('You Are A Tourist') and to rescue old landmarks of the past (' We Looked Like Giants "). Especially moving was the time I enjoyed with 'The New Year' that sounded like the purest glory in this unusual and sandy landscape.
Hunger made us enjoy the third concert in Beirut from a distance. Even so appreciate the "savoir-faire" of a musical group that shows live sound different hair enjoyed albums like "Santa Fe". It is true that in both there is that point so warm and good rollista we like, but on stage the guys from Zach Condon give even greater prominence to one of its most representative instruments: the accordion. With the last notes of 'Vagabond', and now with the moonlight illuminating, swift and fast we went to Ray-Ban Stage, where in minutes were going to play one of the stars of the show: Refused.
What the Swedes at Primavera Sound was pure affright. Over thirteen tracks, which were reviewed some of his most representative, Refused wowed the staff with a real live Slap of which gathered strength, power and sound gross but, in turn, well-defined. Much of the impact caused by this band is given by a frontman, Dennis Lyxzén, which seems to have lost none of the energy that defined it in the past.
There were some emotional moments, but undoubtedly the two greatest songs of the night were 'Refused Are Fucking Dead' and 'New Noise' still prevails as one of the puntazos punk / hardcore more worthy to be lived live. Who said that Refused were dead? They are living for a while and with all their weapons, they got it that time lived in the Ray-Ban was the best we were going to enjoy this latest edition of the Primavera Sound.
And Wilco (what about them that has not been said already) again succeed in Scenario San Miguel, as so often already, marking a live sober, straight and clean. Without departing from the script, without much noise or fuss with Jeff Tweedy and his hat to his head, opened his concert on time with 'Poor Places', and celebrating the tenth anniversary of his deservedly praised "Yankee Hotel Foxtrot" (2002), and then continue with two key themes of "The Whole Love" (2011), the indescribable 'Art of Almost' and the single 'I Might'. There is no place in a festival for the fourteen-minute hypnotic "One Sunday Morning ', which opened last concerts in Madrid and Barcelona last November. In either case, their live blameless do not forget the unique Nels Cline solo in 'Impossible Germany', the delicacy of Tweedy singing 'How To Fight Loneliness' (with some "oeee, oe oe oe" included, as usual ) or provide the opportunity for the public to sing along 'Jesus, Etc.', probably the most popular in Chicago. Perhaps we miss the very murder-ballad 'Via Chicago', perhaps his most representative theme, but all is forgiven with a close with 'Dawned on Me' and the final gap 'Shot in the Arm', with the returning to show that Wilco are not able to have a mediocre or passable night, everything is sublime and the rise to the occasion, sweeping away any other headliner to try them shade.
Before retiring to rest we had tasted the dish we had prepared Alex Kapranos and Franz Ferdinand. Interspersing old songs and new songs (descubridlos in the other post we devote exclusively) the Scots were thrilled the audience with his usual musical protocol.
Sounded 'Ulysses', 'Take Me Out', 'This Fire' and the always electrifying 'Michael' to the delight of an audience that enjoyed jumping and dancing in San Miguel that fable rang for the occasion. Does the unique musical evening against this? That "autopilot" in which all direct immersed Ferdinand. If they were a hair more spontaneous, and communicate more Kapranos, the creators of "You Could Have It So Much Better" would win many integers. Even so enjoyed the intensity of it and, almost inadvertently or drink, we left the grounds of Spring outlining a large surprise. Tomorrow, and better.