The British artist reigns supreme on the second day of the festival, where The Vaccines unreservedly convinced and Izal starred in an acclaimed farewell
Learning is not, precisely, the first of the objectives that one considers when attending a great festival. Each one will organize in that sense the order of their personal preferences and goals, but it is clear that you can end up taking more than one lesson with you. And if it’s rock and roll in its most vigorous, frenetic and inspired state, hey, so much the better. In the case at hand, after the first bars of the second day of Warm Up 2022 on a brightly sunny Saturday, massive attendance and high expectations, a professor of the genre specialized in the British side named Miles appeared on the La Fica campus. and surnamed Kane. Quick greeting to the respectable, complicit and mischievous smile, guitar loaded on the shoulder, band warned of the intensity that deluges require and doors wide open to the incomparable universe of emphasized electricity, the glorious chorus, the feverish solos, the unleashed energy and, above all, the melodic knowledge of a guy who knows what he wants, how he wants it and how to make it reach the public without intermediaries, traps or cardboard.
Second day of the Warm Up 2022
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artists
Nunatak/Pajara Rey/Morreo/Miles Kane/The Vaccines/Izal -
Where and when
La Fica, Saturday April 30 -
Classification
Very good/Good/Fair/Excellent/Remarkably high/Good
Reviewing his impeccable solo discography after his time with The Little Flames and The Rascals, Miles Kane opened fire in the best possible way, that is, combining inspiration from his past and present. And it is that, both ‘Don’t let it get you down’, one of the many outstanding pieces that accumulate on his most recent album, ‘Change the show’, as well as the immense ‘Rearrange’, would be a candidate for the definitive song of his career, make up a welcome duo attached to instant triumph. Impossible to start better a concert that, far from touching the brakes, lived in a permanent state of acceleration, calculating with millimeter precision what the performance needed at each moment so that the drop in level or intensity was conspicuous by its absence. An objective that the Briton more than fulfilled, boosted by a band in perfect harmony with his artistic discourse and a five-star repertoire in which, no matter where you stop, you will always find a remarkable song on the top. The excellent ‘Don’t forget who you are’, a song that gives its name to his most well-rounded album to date, serve as major examples; ‘Nothing’s ever gonna be good enough’; ‘Colour of the trap’; the superb ‘Never get tired of dancing’ and his brutal saxophone; the memory of the essential The Last Shadow Puppets, a band that he leads with Alex Turner, through ‘Aviation’ and ‘Standing next to me’; the delicious Motown heart of ‘Caroline’; the tremendous version of the stainless steel ‘Don’t let me down’ in a precious Beatle communion between artist and public; or the irrepressible ‘Come closer’, the end of the party to remember. Well, that, Miles Kane at Warm Up was a lesson in rock in its purest form. Big words.
And while it didn’t reach this same level, The Vaccines’ live show was pretty close. Kane’s compatriots bet much more on the epic, drama, bombast and fireworks than his illustrious neighbor, but his is a proposal that works especially well in that risky field in which more and more is never enough. For this reason, and although the themes of his latest albums are quite far from the achievements of his two fabulous first works, those of Justin Young, a singer whose particular voice continues to cause an automatic impact, remained firm within the limits of his recognizable comfort zone, triumphing resoundingly when they proposed an exciting trip to the past with songs like ‘If you wanna’, ‘Wreckin’ bar (Ra ra ra)’, ‘I always knew’ or ‘Post break-up sex’, the jewel of the crown, and pleasantly surprising with the strength shown live by some of their new songs (‘Wanderlust’, ‘XCT’, ‘El Paso’). A stupendous concert that vibrated between yesterday and today of the English formation and that offered plenty of arguments to continue looking forward to an upcoming reunion with The Vaccines.
More complicated is a new collective embrace between Izal and his overwhelming parish of faithful after the surprising announcement of an indefinite pause made by the band a few weeks ago. A full-blown shock for their audience that, however, has benefited their live shows due to the understandable increase in emotion that surrounds them on this farewell tour. It is, therefore, about remembering, looking back with satisfaction and tears, rummaging through the suitcases that accompanied a trip accustomed to triumph from almost its departure station and repeating for the last time the unrepeatable. It doesn’t matter that the themes of his latest work, the interesting ‘Hogar’, end up playing a tremendously secondary role. The real weight of his concert was held on the shoulders of a past that continues to throb with the emotion of the first day. You can go more or less into his proposal, of course, but deny the live potential of songs like ‘La mujer de verde’, ‘Pánicoctico’, the charming ‘Qué bien’, performed among the public, ‘Pequeña gran Revolución’ or ‘Copacabana’, as was amply demonstrated during his time at Warm Up, would be throwing a stupid arm wrestling at the evidence. And here we have come to thank the services provided, applaud the best of their repertoire and wish good luck in whatever comes. That’s what we did at a concert that, in its highlights, had the knack of bringing even the most reluctant people into the celebration. A goodbye at the height of the circumstances, go. And of the festival.
Emotional moments that were also experienced, although without the implicit drama of the farewells, in the first of the performances of this day. A recognizable house as soon as you walk through the door. A bonfire with which to take refuge from the external cold. A moment of pause in the midst of chaos. A ray of light crossing the infinite gloom. A hug of tenderness and charm. These are some of the images and sensations aroused by a Nunatak concert, a band that fulfilled the complicated task of lighting the fuse on Saturday. Both in their most energetic moments and in the parentheses of intimacy, the group from Cartagena traced the most representative melodies of their career with delicacy, naturalness and contrasted chemistry, building moments of intoxicating and powerful beauty such as those starring ‘Todas las bells’, ‘ Wind from the south’, a personal weakness, the beautiful love letter to the Mar Menor that is ‘Sun and salt’, or the fantastic ‘Still breathe’. And watch out for a new theme with Caribbean touches that the group premiered for the first time and points to a new and exciting horizon.
A warm start to the day that found a fortunate continuity in that double pop session signed on the Ellesse stage by Pájara Rey and Morreo. In the first of the cases, the band from Murcia accentuates its proposal in a punk nerve that triggers its songs to the beat of urgency, as happened in a particularly successful way in ‘La vida son cosa’, the most successful piece of its repertoire. It is in those moments of refreshing courage where one can clearly hear the call of a more than promising future for local training. The same destiny seems to be headed for Morreo, the Andalusian duo that presented their debut, ‘Fiesta Nacional’, and that gave a good concert with songs of obvious melodic intelligence, accessible psychedelia, imaginative arrangements and a collection of melodies that seem to have been born in the bosom of most classic Spanish pop. Too bad the band didn’t shine especially vocally, something that ended up affecting more than expected some songs that, in their studio version, work with much more brio.
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