Concert evaluation Gazelle’s streamed concert performed the band as lords of Helsinki on the city’s rooftops – clichéd bloating did not sit well in the band’s human semi-intelligent cabinet

The Zen album, which was released in February, has proved to be fruitful, but the release concert was burdened by advertising and ambiguity about the live broadcast, writes critic Aleksi Kinnunen.

Rap / pop. Gazelle’s streamed record release concert on Saturday.

“En remember when starting a gig would have been so exciting ”, Pekka Salminen that is, Päkä commented on Stockmann’s roof on Saturday night.

“It’s just a lack of routine,” Jussi Mikkonen that is, Musa-Jusa acknowledged back.

The lack of a routine would not be a miracle, as Gasellit, probably Finland’s second most popular rap group, has toured under normal conditions at the annual rate of almost a hundred concerts.

Saturday the record release concert was performed as a paid stream instead of the band going on a planned release tour. ZenThe album was released in February.

The Gazelles are pre-marketed with the aim of realizing “the most spectacular and interesting gig of the entire Corona era”. It’s a lot intrigued.

The concert started with pictures of an almost ghostly empty Aleksanterinkatu.

The original texts presented the logos of the partners on top of the aerial photography run.

The plane slid in to Stockmann’s “perfume department” as the band said.

The camera toured Päkää, who began to rip the album title track: “My therapist is a sinking armchair, and huntil took an hour to listen to my worries.”

Emergency Miikka (left), Päkä, Musa-Jusa and Thube Hefner criticized the rush with their Zen album.­

Soon we were snapped in a familiar elevator, then on the roof of a department store on which a stage with a spectacularly glowing light had been built on top of the city at dusk.

Being at the top, the concert seemed to want to say. The message was also that thanks to the department store Stockmann and the hotel Clarion.

Half wool the bloating and cheap-looking commercialism surfaced in an otherwise professionally constructed concert on Saturday, sadly at odds.

One would think that the middle-class semi-intelligent cabinet represented by Gaselli would emphasize the need to stand out from all boasting and unnecessary commercial triggering.

Published in February and revealed to be rewarding Zenthe album is impressed precisely by the human relevance that arises from the contradiction between realities and desires, other expectations and one’s own choices.

“Life isn’t just about Artekkii, the big window, the herringbone parquet,” the band says in a wonderfully longing Peakin a thematic album on mental stagnation and a critical review of lifestyles.

Päkä (left), Musa-Jusa and Thube Hefner performed at their gig in the department store and hotel.­

I need it The concert, reminiscent of an hour-long music video marked by commercial collaboration, looked like a band-style sit on the rooftops, surrounded by logos.

“Expensive, everything is fucking expensive,” Tuomas Pietikäinen that is, Thube Hefner raped Stockmann’s floors, but the message remained lingering halfway. Irony didn’t seem to be the case.

When the band performed Kanye Westin early shades of fantastically reproducing and cool colors Ruudolfwith the sample From Oulu village to eternity final track at Töölö’s empty football stadium, the question arose, why wasn’t the band more at the roots of Oulunkylä Sports Park? Its costume booth was reminiscent of the band in the middle of the concert.

The concert ended with a firecracker shootout, but the result seemed like an idea-poor and pawn replay of the Super Bowl cliché.

Concert made vague the fact that the viewer did not open the relationship between the live broadcast and the pre-recorded gig material.

Thube Hefner (left), Päkä and Musa-Jusa celebrated the release of their album with a streaming gig.­

A live broadcast that emphasizes uniqueness is rewarding. I see no reason why Saturday’s idea couldn’t have made the curves a little straightforward completely straight.

A couple of older songs (Imus, What am I in Malagas?, Where are you from?) with the exception of the concert focused on the new album, the visitors were the same as the JVG except on the record. The most important thing, though, was exhausted.

Antti Holman monologue fragments create Zenaudiobook-like theme for the album. Now Holma’s voice was heard during the opening image of the concert, seemingly pre-recorded, but Holma herself was not visible.

Helsingin Sanomat and Ruutu, who performed the gig, belong to the same Sanoma Group.

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