Tuesday, December 6

The consecration ceremony of Ojete Calor


The dressing room of the Palacio de Deportes Wizink Center still smelled of Robert Smith’s hairspray, according to Aníbal Calor this Saturday, since The Cure had “supported” them the day before. The joke was inevitable because the feat of the night, the most heard comment upon arriving at the venue, was that a group based on the most ruthless humor and the most embarrassing pop culture references for those of us today between 40 and 50, who sing karaoke with voices bordering on detune, could fill the 12,000 seats as easily as the British veterans.

It was the first time they did it and this looks like, having touched that Olympus, there is no turning back. Ojete Heat, forgers of the subnopop, they have succeeded. They might never compose another hit in his life, that with this he would already be. And despite that, the live debut of her latest single, evil extremism, indicates that they can continue to roll the gum with genius and that they have something that Robert Smith cannot be said about the unreleased songs that his group had played the day before: they know how to make a classic be born.

I said, a little further up, that this is a karaoke show (a good one), but on his Xtrmly Live!, which is how the show was titled, it is less so than ever. to the concept xtrmly Los Mamarriachis, some mariachis that are not as mamarrachos as might be expected, and La Filamonguer, an orchestra that is neither as philharmonic nor as monguer who interprets a version with height of Silly and stupid. As is evident, exaggeration is a vital principle, a wind that does not stop, a weight that does not weigh, for Ojete Calor.

As is the case with Morrissey or Depeche Mode —why not measure them alongside the greats— Ojete has established codes that are repeated at his concerts. In fact, being a fan means knowing those codes and practicing that language. Namely: you have to guess the song that is coming based on the stories with which Carlos and Aníbal present them; there are always surprise guests; Mocatriz it is danced with choreography; the components of the duo will navigate the crowd mounted on boats, as they copied from Steve Aoki, and Carlos Ojete will indicate that “for this concert not to be the last” the sea of ​​​​arms must dedicate both hands to holding the boats, keeping the mobiles in the place indicated by Carlos’s artistic last name (I’ll save you the inverted commas). “Let those in the stands record” commanded the model, singer and actor.

The tradition of the boats, that when what the group filled was the most modest photo of the Riviera consisted of going to the palm tree and coming back, this time became a race to the person holding a vinyl record of María del Monte, the first time. For the second round, they drew from the backstage the presenter Lorena Castell and the actor and blackmailer Ernesto Sevilla, who jumped into the pool to grab a Luis Cobos vinyl. While it sounded, as usual, who drives my boat of Remedios Amaya, Seville starred in the most embarrassing performance in the history of the boats on arms, falling to the ground over and over again.

The generosity with which Ojete Calor shares his stage with friends is legendary. Seville, Castell, Loles León or Yolanda Ramos fall within the expected. Ana Belén, despite being hoarse, did not want to miss the night and she had a splendid playback (of the good) of Agapimú. The spectacular exit of Boris Izaguirre camouflaged as a pizza delivery boy —motorcycle helmet and sequined jacket— was a pleasant surprise. Also surprising was the appearance of Rocío Carrasco who sang together with Aníbal and Carlos the immense song of her mother, Like a wave. However, the irruption of the stage that almost knocked down the palace with shouts, applause, howls and declarations of love was the Russian Crab. The concept of generosity falls short next to the benevolent nobility of allowing another group to insert a mini-concert with one of their songs into your own performance. Russian Crab appropriated the Showbrought the audience to their knees, blessed the subnopop and endowed all this wonderful absurdity with a conceptual sense with an overwhelming interpretation of Kitt and the cars of the past.

The Filanmonguer was apparently led by a one-armed teacher who, naturally, turned his back on the public. That presence and that mystery, of course, hid a surprise. It was Tino, from Parchís, who joined the duo with an exorcism in the format of medley of songs from our childhood, from Friend Felix, Happy Birthday or the song of G command.

And despite the fact that the stars of television and song brightened up the night, the most exciting collaboration came with the exit from behind the scenes of a woman in a wheelchair, a few days after having a hip operation, which did not It was other than the mythical Maribel protagonist of the homonymous song. Maribel, Ojete Calor’s friend who “has the theory that bad is good” and that “worse is better”.

And already in a monumental despendole, the show included flames of fire —as if they were Rammstein—, a couple of Carrefour carts, two swings, a slide, costumes with light bulbs, dead Laura Palmer costumes, fishnet stockings and even some chords of Staff Jesus that escaped Hannibal, devoted deck, of the guitar

In Ojete there is not only humor: there is a fang, there is a bitten bone, there is satire, there is politics, there is acid on the wound. In what could be called a welcome speech, the artists compared Barcelona and Madrid: “They have the Sagrada Familia but you have many VIPS” and the allusions to the dichotomy between “freedom” and everything else that exists in the capital. “There are people who think you have to get wet but I prefer to be neutral”, they sing sarcastically in their latest song. “The WiZink has outgrown them”, has been heard out there. For the next tour, for the 50,000 capacity of the Metropolitan Stadium, like the Rolling.






www.eldiario.es

Leave a Reply

Your email address will not be published. Required fields are marked *