yesterday, today and forever. Last night, Rosario returned to this city, one of the poor hearts and also one of the children without calm, the same city with whom he maintains a tense relationship from the text written in 2011 in the hot, the night Mauricio Macri won the head of the Buenos Aires government for the second time. "I came to present the liberated city and found the armored city," sang in the middle of the show, in a much more subtle and poetic criticism, if we consider the fact that "
disgust "that gave up half of Buenos Aires seven years ago.
For more than two hours, Páez presented a show with an axle in the past at Gran Rex Theater, with the good excuse to go over his album from the beginning to the end
Hey!, from 1988, "when this city was alive", as he recalled before this kind of second act of the songs recorded already thirty years ago. But also with an eye on the present, with the songs of the latest production,
The liberated city, intertwined with their hymns / hits always in the first, as in the last part of the show.
Thus, Páez traveled in time to regain his rock version, accompanied by his young band composed by Ana Alvarez of Toledo in choruses, Diego Olivero in bass, Juan Absatz in the keyboard, Gaston Baremberg in drums and Juani Aguero in guitar He counted the sponsorship of Rosario, who invited his band, Detonantes, to play at one of the intervals.
For some years, Fito has reviewed his first albums. He did it with him
From 63, with
The City of Poor Hearts and also with
Love For Love. Then it was the last night round
Hey!, a crude album showing more than any other album the influence of Prince in Páez's music (including that purple color that covers the aesthetics of the work). Thus, from "Far in Berlin" (in a rough version) to "Hunt" (a song maybe a bit short of yesterday due to the lack of wind and percussion played live), the musician aggiornó one by one those songs composed open veins three decades ago, long before success, fame, money and love after love. "Only the chicks, just the chic," sang before his audience's laughter and then recovered several hidden stones from his repertoire like "Fake Tattoo", "The Town of the Children without Calmness," "Give Me a Talisman" with Prince in the Head and go …) and paranoid "Alacrán".
Then, yes, Paez returned to his now liberated city, now armored, with his message of solidarity directed towards
Refugio Monteagudo (for which food and clothes were collected before the concert). "In the Monteagudo Refuge embraces you with heart, I went to sing a single night with the piano and a painted sign said the street is not a good place to live, the less you die." From there until
"The City of Poor Hearts," with stairs in "Circo Beat" and "Brillante sobre el mic" unbeaten. "They say it's not me who I am," Paez plays yesterday, but more current than ever. "What do you want from me, what do you want to know? You will not see me kneeling," he repeats defiantly just before the encores that everybody knows, that all sing and confirm this Rosario as an extraordinary artist.
Let me live my life and
Give it up and
And give me the joy of my heart. Songs of yesterday, today and forever.