Mass bathroom in Madrid




The Wizink roared again last night with the Colombian phenomenon. A young man with a sharp and playful mustache, Camilo Echeverry, He excited the fans before stepping on stage, in immaculate white and barefoot. He started with ‘Favorita’, laying the musical foundations of the concert: reggaeton with short, catchy and simple songs (without negative connotation).

‘Tutu’ followed, one of his biggest hits, and in which he hung the guitar around his neck (as an ornament).

In ‘No te vayas’ I began to doubt the artistic integrity of the concert, since Camilo moved away from the microphone in several sentence endings and his voice continued to sound the same; what is commonly known as ‘playback’, wow. It is an intense song and the singer gave the sensation of making insufficient effort to, from the neck and the mouth, produce so much sound. It must be my imagination, I thought.

‘Millones’, without the aesthetic complement of the guitar, is one of his best songs. The chorus overwhelms, the melody embodies all the concepts of good pop and the musicians warmly embrace it.

Then he opened his heart and, moved, mentioned the desire he had to visit Spain to a general applause. He surprised by presenting Pablo Alborán, with whom he sang ‘El misma aire’ as a duet, a ballad to use in which the rest of the reggaeton rhythm is appreciated.

Together with Evaluna Montaner, his partner on the microphone, wife and muse, he sang ‘Machu Picchu, 999’ (his last single in which Selena Gómez collaborates) and ‘Por primera vez’ (very cloying restructuring of the lyrics, bordering on parody). The moment of the concert arrived here. As Montaner left the stage, a daring male knelt in the lower tier of the sector he occupied. After the moments of uncertainty that follow a leap into the void … she said yes. Good luck.

Camilo’s are songs without changes, without solos or flourishes. They all move around the melody, the standard rhythm of the Puerto Rican musical genre and the cult of the artist, something older than the music itself. The young singer knows this and takes advantage of it by constantly interacting with the public. He is not a great dancer or the best showman but he knows well what is expected of a concert like his and provides it with mastery: smiles, mischievous looks at the camera, swaying hips … and the mustache.

The great ‘but’ that can be put, and it is not a trivial thing, is that Camilo, who shows at the end of the night to be a great musician, has yielded to the demands of the ‘2021’ sound: the song is played as playback and the band plays over it. This is a relatively new change that all stadium-filling artists have embraced – some out of desire, some out of necessity. In Camilo’s case it hurts, because he wouldn’t need it to put on a great show.

The final firework begins with ‘Ropa cara’, which has several verses that are close to rap and a letter that is much more structured and prosodic than the others.

Then ‘BABY’, which is probably his biggest commercial success. Purists could learn a number of things from this subject, which makes a lot of sense. On stage, it serves as the ending before the encores at a time when the audience is singing for more than a minute. It’s a tremendous song that works just as well on radio and live.

The encores started with ‘Media Luna’, a beautiful ballad that he sings accompanied by his guitar and in which he shows that he knows how to use it. Then he introduced Dani Martín, his “soul brother”, together with whom he sang ‘Manos de tijera’ on the piano. Camilo surprised more in the last 20 minutes than in the previous 90.

With the band back on the stage, ‘KESI’, a popular song in Spain for being the tune of the football league at the beginning of the season. With ‘Vida de rico’, another great song, he closed the night to the relief of the security officers, who were beginning to lose control of the Wizink. The city, his tribe, wants to smile and, with Camilo, he was able to do it for a couple of hours.

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