2023-05-19 07:28:36
This Thursday the Galician singer-songwriter Andrés Suárez, from Ferrol with 40 tacos, acted tipsy (“I went too far with the skewers and I come from cañas, and I say it. I arrived at 2 and I am very happy,” he revealed shortly before 9, in full gig, in his first speech) in a Teatro Campos occupied by 420 superfans who waved balloons in the first rows and gave him in the encore, almost out of the blue, a three-minute standing ovation that made him cry and pushed him to kiss the ground he stepped on, like a Pope (“don’t upload it to the networks, please,” he said over his tears). He came at the beginning of the tour to present his ninth album, ‘Viaje de ida y vuelta’: “for those who don’t know me, there have been eight albums for my ex and one happy one, which is this one”, which he composed to keep the promise that he did during the pandemic to his mother, a healthcare worker, that he was going to write the “most joyful possible” album.
The concert, of some 23 pieces in 125 minutes, in a sextet dressed in white (Andrés Litwin on drums) and on a stage framed with lights a bit like those of the science fiction movie ‘Tron’, had moments of a funny stand-up , started with the feeble and insufficient sound that usually ballasts the Campos (due to defects in the construction insulation it has a volume limiter) although thank goodness that by the end it is not that we would have gotten used to it but that extra electricity was injected into it, the public did not stopped participating (sometimes spontaneously, as when they clapped for the first time, they turned on the lights of their mobile phones en masse and by surprise, or when they stood up and tilted their bodies waving in unison, others in a herded way, as when they asked for clapping or waved his arms up like Enrique Iglesias), almost all his songs referred to others, in the case of Revólver, Quique González and Ismael Serrano, or Alex Ubago, Antonio Orozco and Pablo López, because of the epilogue people stood up to dance the songs, and the Galician ended up delighted: “I love you very much, thank you from the bottom of my heart,” he said in one of his last compliments.
Poteando from the two was Andrés
Oscar Stephen
Let’s see, let’s go by parts. The lyrics of the first songs seemed quite prosaic, basic (‘Through the eyes’, and followed by ‘I won’t say’, the one about “because I want a downpour / of caresses and I love you”; well, maybe the lack of complexity the secret of his success), and several of them were social: about a young mother’s Parkinson’s (‘Valientes’, a reggae something Macaco), about how a blind girl sees the world (‘Moraima’), and the dedicated to the health workers of the pandemic (‘I think of you’). But in general Suárez focused on love, on the thing about you leaving and coming back, coming back, coming back. Oh, he didn’t cut back on localisms either, sharing the northern feeling with the Cantabrian Nando Agüeros (the inaugural ‘Herbeira’, where he talks about Albariño and Cedeira), and both in songs and in speeches he spoke to us and sang about Sabina, Milanés and Aute, apart from admitting that he is doing very well and that he can pay the bills through music.
His proposal of commercial pop rock, soft rock often a la Revólver (apart from the loquacious monologue of the tipsy Andrés, the radar can pick up lyrical echoes of ‘Calle Mayor’ in ‘Nuestra generación’, and of ‘Eldorado’ in ‘Teresa y Andrés’, who are his parents…), he played the vibrato singer-songwriter of Ismael Serrano (‘I don’t want to lose you’, the duet with the keyboard player ‘Perhaps you remember me’, the organic reggaeton ‘For not saying your name’ , which is not about love but a subtle zasca to the haters, or ‘Benijo’, after which they gave him the aforementioned and emotional three-minute long ovation, which really surprised him), he was equal to the best Álex Ubago (‘I think en ti’, ‘They don’t know about you’; ah, a couple of weeks ago we saw Ubago in the Kafe Antzokia in a trio, and nivelón, eh?), some lyrics turned out quite well because they were ambitious (‘Cardinal Numbers’) , was emphatic in the style of Pablo López (‘Nina’), and opened the encore singing ‘Haika, mutil’, by Mikel Laboa, in Basque, reading from the music stand, of course, but in a heartfelt and intense way, in a duet with his violinist.
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