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The Colombian singer swept away with a great production, with a stage located in the center of the dance floor, his dominating presence and a repertoire based on his hits with quotes from his latest album, ‘Papi Juancho’
Two postponements later, from 2020 to 2021, and from 2021 to the present year of grace, Maluma’s ‘tour’ became flesh, and fiery rhyme, and polygamous sigh, this Thursday at a Palau Sant Jordi eager to lose view for a while the devilish news. The Colombian singer was propelled by his most imperative ‘hit’, ‘Hawái’, theme that opened and closed the night invoking the universal feeling of spite (perhaps toxic) on account of the ex who practices flagrant posturing: “What you post is very nice on Instagram / so I can see how well you are doing / But you you do wrong / Because love is not bought ná & rdquor ;.
The infinite and very creative paths that lead to romping were, once again, the ‘leitmotif’ of that latest album, ‘Papi Juancho’, which contributed just three songs to a repertoire leaning towards ‘hits’. On this tour, Juan Luis Londoño, Maluma, it elevates a genre to a pop blockbuster, reggaeton, so often represented in short-legged ‘shows’, with a certain homemade touch. And he unhurriedly pulls off tics typical of stars: those abrupt cuts in certain songs (‘Corazón’) to let himself be overwhelmed by the shouting. Epic Maluma, and a bit too much with his audience: 45 minutes late without any explanation. Of course, then everything was rally: “I missed them like hell & rdquor ;.
looking for closeness
Stage in the center of the dance floor, playing with the closeness of the star and the eight dancers, and the video, and the flares. There Maluma imposed his dominating figure, in a light colonial suit and urban tattoos, releasing satyr verses that in other mouths they would deserve the occasional slap (‘Madrid’: “Everything has changed around here / except the love I felt for you / That little ass misses me, you know’”) and appealing when it corresponds to feminine power: “She he’s not looking for a girlfriend / he wants to go out and fuck” (‘HP’).
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Maluma had a more explicit relationship with sex than most ‘anglo’ pop stars, a clearly visible differential factor in the recent ‘Cositas de la USA’, with its umpteenth quote to the monotheme (“we rent a campsite and we’re going to ‘fuck/ where no radar can detect us”). But, at the same time, she suggested that she aspires to a more transversal audience with her sblockbuster sound or that ballad, ‘ADMV’, which he dedicated to those who fell from covid-19. There he slipped an allusion to the war in Ukraine. “I don’t like to get involved in politics or religion & rdquor ;, he confessed, “but if there is one thing I am sure of, it is that war is not the solution & rdquor ;.
wanted cards
After that break, Maluma pulled the most desired cards, starting with ‘Borro cassette’ and its bath of crowds at the foot of the track. “Do you like reggaeton? Here we came to perrear!” And from there to ‘Felices los 4’, with a vibrant salsa ending, ‘Vente pa’ ca’, ‘Cuatro babys’… Trophies of that rampant latinidad transformed into a canon of global pop, packaged in a show that can well expand the popular contours of the Colombian. Those who come to see him at his other eight concerts in Spain (including a second date at Madrid’s Wizink Center on July 8) will be able to judge him.