After filling small venues, five consecutive days at the Riviera and a Caja Mágica with more than 38,000 people, Vetusta Morla had only one challenge left to him, filling a football stadium. Like international bands do, like the Rolling Stones did a few weeks ago. In fact, the stage to achieve it was the same one that Mick Jagger, Keith Richards and company chose, a Metropolitan Wanda in which there were some empty spaces and that brought together more than 35,000 people to see that band that revolutionized indie in 2008 and that almost 15 years later they are already more than a group, they are almost a religion for all the fans who follow them at every step.
15 years is a long time, and above all it is a time to lose oneself, to betray oneself and to sell oneself to the market. Vetusta Morla has overcome all these risks and has remained faithful. First in their style, imitated ad nauseam, and second in moral principles that differentiate them from so many bands that try to take advantage of an indie that is more mainstream than ever and that even plays on radio formulas. Staying faithful is only possible if you love what you do, and that is palpable in every Vetusta Morla concert. It was noticeable in the gambling dens where the first followers cried with Copenhagen and jumped with Saharabbey Road. It has been felt more than ever in an epic, almost historic concert. Few Spanish bands are capable of filling a Wanda Metropolitano, and even fewer are capable of filling it with energy and transmitting the same enthusiasm as in its beginnings.
Although the tickets marked the beginning at 9:30 p.m., the stage screens already made it clear that this would not happen. To give the Wanda time to fill up as much as possible and to avoid starting the concert in broad daylight (the longest of the year as they progressed) the concert was delayed until 10:00 p.m. They didn’t take another minute. At ten o’clock the music turned off and a show began that began with them dressed in white and behind some screens on which they projected some visuals. Their backstab It was the first touchdown, and the crowd gave themselves up at the top of their lungs.
The beginning of the show was dedicated to his latest album, that ground wire in which they bet on the folkloric and traditional sounds that they transferred to the stage thanks to what they have called ‘Orquesta Cable a Tierra’, among which were the Palencian band El Naán and the Galician Aliboria, who unfurled their tambourines and tambourines to the rhythm of that ‘sample’ by Concha García Piquer that is The Virgin of Humanity, one of the most celebrated songs from his latest album. The presence of this Celtiberian orchestra, as Pucho defined it, was a beautiful and exciting decision that elevated the concert. A commitment to ancestors, roots, grandmothers and peoples.
Everything was going smoothly until it arrived the boogeymanone of the hits from their second album, Maps. Halfway through the song, the music stopped playing in what seemed like a wink for Wanda to sing the lyrics until people realized that Pucho was still singing but no one was able to hear him. Neither him nor the music of the band. When the song finished the sound returned, but they took a break to decide how they would pick up. They did it with an epic bang, with Pucho wasting energy and picking up the concert as if nothing had happened and with his most political song, Masterstroke.
That was the first time he took the floor to ask people to enjoy themselves. “It is a pleasure to be together and together again. We have been a couple of years with very unstable times, very innocuous, very introspective, and it seems that the panorama in the future is not very flattering. Tonight we want to do a joint global thought, place ourselves here in this metropolitan stadium in Madrid and realize, be fully aware of how fucking lucky we all are to be here today. We are very lucky and lucky, ”she launched.
Music is very lonely. We need laws that protect musicians, technicians. That the stadiums invest a little of the tickets in a good quality of sound
— Singer of Vetusta Morla
After the speech came one of the great moments of the night, that Damn sweet that has become almost a hymn for the followers of Vetusta Morla and that sounded better than ever, giving importance to a percussion performed by Naán, Aliboria and the voice of María Alba, who performed the choirs to which the public joined . A moment of ecstasy that preceded another of the concert’s many nods to Spanish poetry and folk music.
The presence of that band that accompanied Vetusta Morla on stage was what turned her concert at the Wanda into something more, a shout out to forgotten traditions, to the languages and music of the peoples at a time when everything sounds like an algorithm and premade melodies. Pucho introduced them, sat them at a table and gave them one of the most exciting moments of the concert. They sang “the beats of bread” pounding with their hands and joined with Finistere, one of the songs that best shows that commitment to folklore from his latest album. They made their classics sound different, sometimes even better. That’s how the equator passed and those that never fail arrived, like Copenhagenperhaps the song that put them into orbit in 2008.
Vetusta Morla made it clear that tonight – which they were recording incidentally – had to be all unique. Several aces were kept up their sleeves, such as the tarara sung a cappella and that tribute to Antonio Gasset, the mythical presenter of Días de Cine who appeared on the screens announcing a mythical break and giving advice to discover the imbeciles. A nod also to Pucho’s cinephilia, which has even made him go as a scout at the Cannes Film Festival and which takes him to every Spanish film festival.
The final sprint chained several of the most popular songs. Palm trees in the stain, with mention of Will Smith’s slap to Chris Rock included; council of sageswith a new version in the form of rap thanks to Wos, and those that always close, Brave –that on this occasion came with a message for the extreme right when he changed the lyrics to say “and the fascists out” – and the Saharabbey Road that turns each concert into an explosion of screams and jumps. Pucho didn’t hold back for the encores, and he rushed out to grab the microphone and make a political, activist and protest speech.
“A lot of people from the music industries have disappeared from the map. We are a sector that was already quite devastated and that has been left shivering. We have almost three years of suspended tours coming out at once. There is a lack of material and technicians. All the people you don’t see on stage, who aren’t musicians, are working hard so that each festival and concert happens and transmits us some music, love and poetry”, he said before thanking the people in the bars, costumes, the seamstresses, the set designers, stagehands who work hard for “all of us to enjoy”.
I continue denouncing the “lack of resources in the world of music”. “There are other industries that have laws, better or worse. Music is very lonely. We need laws that protect musicians, technicians. That stadiums and sports venues invest some of their tickets in good sound quality, because apart from sports they are used for music. I make an appeal, I break a spear and I ask you to help the venues not disappear and that there are quality concerts, ”he said before closing with an essential trio, if you break, winter quarters Y the rare days, the song with which they have always closed since their second album and that this time once again resorted to percussion and folklore to be the perfect finishing touch for a unique concert.