Show de David Bowie en el estadio  Ferrocarril Oeste

 

Diario Pagina 12

 

Spanish Version

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David Bowie in Ferro.

A grammy for the mixer

    

       Itīs not news that, generally, soccer stadium shows use to finish nearer a nightmare than the ecstasis. The tiny figures which are seen far away - except for Those who have a humanity resisting enough to tolerate the pressure in the first rows & dash; are finally, a smaller detail in front of a real karma of such presentations.

        What has to do with the sound, that swinging thing which comes out of those boxes at the sides of the stage, and gets in a highly imperfect way (when it gets) to the people enduring ears who have paid a good sum of money for their tickets. Except when the musicians use to be unaware of this, and perhaps they ask themselves how is it that the audience is singing other songīs chorus.

        The topic has been analyzed in several occasions, and it often gets the conclusions that, simply, a soccer stadium makes honor to its own name and itīs only useful to play soccer.

        Itīs also said that itīs necessary that the Rolling Stones, Pink Floyd or U2 invest millions of dollars in sound system designed by the Nasa, so that the public could feel that lead fully enjoyed the show "And, you see a soccer stadium...." uses to be said with a shoulderīs movement.

        If all this is real, so, how is David Bowieīs show explained? The show given by the duke and his wonderful quartet last friday in ferro stadium, sounded impressive, joined to everything that the music lover requests in such circumstances.

        Bowie sounded powerful; Bowie sounded clear, even in the moments that the most deformed songs of his end of century repertory appeared, Bowie sounded accurate, as long as to be able to appreciate the chorus of his acoustics while Reeves Gabriel made tortured roars with his guitar, Zachary Alfonde gave two handed blows to the drums, Mick Gerson put the strangest notes that can be imagined in his keyboards, the impressive dark faced Gail Ann Donseyu showed to have the most privileged throat -a timing for the base- and another keyboard shot destructive loops.

        Musically talking, the show with which the Englishman closed his tour presenting Earthing, was an example of how to go on innovating at the age of fifty, a performance of creativeness, fierceness and philosophy of not staying always in the easy part.

        But it would be unjust not to dedicate these paragraphs to that sound that highly showed that seeing a concert in a stadium doesnīt have to mean acoustic atrophy.

        Take it as an example

                                        Eduardo Fabregat