The singer from Sant Climent de Llobregat dazzled her followers with the hit of guitar pop-rock and the Latin winks of her album ’11 Reasons’, and had Pablo Alborán as a guest on ‘Ni una más’
A more musically defined Aitana has emerged from the pandemic than the whimsical ‘triumph’, still in the process of cooking, who released her solo profile in that summer of 2019. Determined by a pop-rock record of attractive choruses and fighting guitars, she showed herself this Saturday using her ’11 Reasons’, that album whose central song gives arguments to bite the bullet after leaving behind an unsympathetic relationship: “Let me give you back the roses that are poisonous / and take all your butterflies, they make me nervous & rdquor ;, he sang, without hesitation, opening the session in his return to Palau Sant Jordi.
Full room, with 13,200 people according to the organization (format of chairs on the track and, therefore, without the requirement of a covid passport, although it was requested at the drink stalls) and a family court audience, with an abundance of children’s bangs in honor to the artist. Aitana Ocaña Morales, blue dress with a skirt in the wind, entered wrapped in rock chords reinforced by the work and grace of two trained guitarists, Guillermo Guerrero and Laura Solla (this was in the pre-pandemic member of the last version, Galician, of the group originally British Immaculate Fools). Expedited support to accompany the singer from Sant Climent de Llobregat in her songs of personal determination and in their taunts to toxic loves.
Aitana played at home and let it be known that there was “a lot of family & rdquor; in Sant Jordi, the “de sangre & rdquor; and the enlarged one, and he recalled his first forays into the room as a fan of Estopa. “I remember thinking ‘I want to be up there at some point in my life’ & rdquor ;, he slipped, and he made a request: “that you enjoy, that you cry, that you jump & rdquor ;, we don’t know if all at once.
The guitar pop dominated, contrasted by the somewhat childish voice, although well modulated, a bit in the wake of Nena Daconte, with melodic hooks on songs like ‘Corazón sin vida’ (which conscientiously shoots the text of ‘Corazón partío’, by Alejandro Sanz) or ‘X, entitled this one, like others on the new album, with a mathematical symbol a la Ed Sheeran. PBut reggaeton has not completely disappeared from his life, and there it was, for example, that ‘Telephone’ in its disputed day, now more organic, with less electronics and the beat of the battery.
With his idol
And in the ballads section, very classic and with ‘power’ hits, a surprise: Pablo Alborán, entering the scene to give him the refined reply in ‘Ni una más’; song “about inequality & rdquor ;, she presented it. At 22, Aitana retains something of the fan that does not come out of her amazement at sharing the stage with her idols, although she threw a shovel of years on Alboran when she introduced her: “You know that I have admired you since I was little & rdquor ;.
The editorial ‘tempos’ today are fast and Aitana is already thinking about her next album, as she let us know, to which pieces such as ‘Berlin’ or ‘Formentera’ will go, the latter suggesting new approaches to electronic sign. At Sant Jordi, the stylistic twists were very nuanced and did not complicate the effervescent dialogue with the public, ignited when Aitana introduced other guests: the Valencian Zzoilo in ‘Mon amour’ and the Colombians’ Cali & El Dandww in ‘+’. They accompanied an artist who seems to have known how to build a diaphanous bond with her young followers, devoid of divisms, over-acting and hysterics, using a manageable aura and offering herself as a mirror.