It takes at least fifteen minutes to realize that there is someone playing behind that individual who calls himself El Niño de Elche. Individual for individual and for unique. For a poet and a provocateur. For seeking the limit of the poem. For not knowing if he is being serious or very serious. For raising the saints to altars so high that their misery can be seen under their habits.
This Friday he participated in La Mar de Músicas de Cartagena performing in the Patio of the Faculty of Business Sciences a place that was previously the patio of the Sailor Training Barracks CIM and which was born as the Prisoners and Slaves Barracks. A place to the singer's taste because that must stay there attached to the walls vibrating and transmitting fierceness and truth in each piece. So much suffering so CXB Directory much blood and so much death that it is better to make cruel mockery than to sit down and cry. Instead of performing El Niño de Elche proposed holding a rave as an alternative but it was not a question of tempting fate either. Those of us who were there were "neither chicha nor limoná" we formed an audience of those that the purists say that we went to these "monster concerts attended by an audience that is not flamenco and has no fucking idea about flamenco" come on “one of those public without identity.” Quotes are quotes for a reason.
He presented 'Colombiana' a work created together with the Bogota native Eblis Álvarez and for which yesterday he was accompanied on stage by his extreme leftists Susana Ylia on keyboards and electronics Raúl Cantizano on guitars and Víctor Martínez on percussions. A proposal that he always wins live like the living and latent verse and to which yesterday among others Ernesto Cardenal Antonio Escohotado and that Anonymous guy who wrote so much and who is so little recognized wrote lyrics.
In this space and with thanks to the Sursum corda ahead the Child of Elche began to parade and pay honors to the war and the yellow cocoa. To fear and desire. The two most powerful sea winds. There is no room for nostalgia or for remembering old successes or failures. Paco Contreras does not usually make concessions to what is easy nor does he go through well-known pieces or encores. They would not make sense in a concert that is a concert but also a poetic manifesto and a poetic recital or vice versa.
You sing back and forth they say. Flamenco of the future they say. These issues do not seem to be among Paco Contreras' concerns nor does he seem to have any desire to defend the flamenco castle. More he seems to move through multidisciplinary expressive forms on which to support his desire to transmit to tell to give voice and to find the traveling companions that each creative moment requires. In the manner of a profane prayer to Antonio Chacón he distributed candy to the audience and played "Singing and cocaine back and forth" as Ulises Fuente so beautifully titled the review of this work in La Razón which included the phrase "weaving a dense network of meanings that electrocute and poison those who know how to listen to them.” Well amen.
發表於 2024-3-16 14:48:32
