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Pablo Alboran, The Foam Of The Days At Porta Ferrada

There is a desire for concerts that celebrate life and that are transversal, family meeting points, according to the old rite of the summer night. And Pablo Alborán is an artist capable of offering all that with his beautiful voice, his unfathomable baladones and his pop sensuality touched by a tenuous Latinity.

Songbook that is both demanding and light, his, with a gift for reaching the general public and signs of compositional nobility that make a difference, all projected in a long-shot show, this Friday at the Porta Ferrada Festival.

Pablo Alboran: “When I write a song I try not to get tired of myself, and it is not easy”
The Guíxols Arena hosted one of the six stops of this, for now brief, ‘Vertigo Tour’, expanding the initial capacity to 2,500 attendees, with 70% of the stipulated capacity, masks and the well-known pandemic ‘props’.

An atmosphere of summer relaxation well visible in the bustling ‘village’, in whose small adjoining stage Rodrigo Mercado, son of the former leader of Leño, Rosendo, previously acted .

While hamburgers and pizza slices flew around the place, he defended his signature acoustic rock with all dignity, accompanied by a guitarist, with rap edges and that song he composed with his father, ‘A remar’, in which he quotes us on the front lines, “declared in absentia with authority.”

Misty ballads
With Pablo Alboran came the hubbub, smooth, without catharsis or hysterics, riding the tropical rhythm of ‘Tabú’, supported by six musicians and on a stage framed by an extra-long video screen. Considerable assembly in these days of trifles, and a well-locked journey, combining with a good eye the invitation to dance and introspection.

The songs of ‘Vertigo’ marked territory, first with the misty ballads ‘Hablemos de amor’ and ‘Corazón descalzo’, which slip a certain experimentation into the sound tissues. There was ‘El gale’, a song whose chorus, it must be said, is reminiscent of ‘Don’t compare me’, by Alejandro Sanz.

It has been a ten-year career, and some more since the days of the videos on the white sofa, and Alboran lent himself to air his first milestones in a ‘medley’ that did not include the climactic ‘Seré’, but if another delicate past title , ‘So much’. Lyrical always flowery, with sometimes convoluted metaphors, and lung power in ‘Let it always be summer’, when he stretched the notes asking “squeeze my hand” to popular delight.

And more distinctive novelties: ‘If you had wanted’, with its ethereal electronic cadence open to the arabesque, and the ballad of film of ‘Vertigo’.

And the short distance Alboran, who defended ‘When you are here’ at the piano, a song composed in times of a pandemic, inviting him to draw bold conclusions (“the human being is not as bad as it seems”), and which went back to the initiation ‘ Solamente tú ‘, with fragments in Catalan, between improvised outbursts of flamenco singing.

There, in those more collected pieces, the artist’s heart may well be, although he is able to come out reasonably well even by putting on a pachanguero, as in ‘La fiesta’, the song that closed the night, encouraging the public to sing with him and making the foam of the days grow together.

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