The tightrope walker of Jorge Drexler

by time news

2023-08-14 19:47:47

A concert of Jorge Drexler it’s always entertaining. Even more so if there is a marriage request between songs. This is how it was on Sunday in the meeting that the Uruguayan singer-songwriter (Montevideo, 1964) offered at the Porta Ferrada Festival, scene that Jordi chose to propose to his beloved Anna who, blushing, said yes amid hugs and applause from those present. The audience, perplexed, was thrilled to be a part of such a scene worthy of a Hollywood movie.

Drexler, who communicated that he distrusts the “marriage institution”, returned to Girona 16 months later to play his last work: ink and time. An album that swept the last edition of the Latin Grammys with seven awards. He did it with a luxurious accompaniment: Meritxell Nedderman (piano), Borja Barrueta (drums), Javier Calequi (guitar), Carlos Campi (bass), Gala (drums), Alana Sinkëy and Miryam Latrece (vocals).

Nothing could go wrong, then, in a Guíxols Arena that was overturned with the performance of the singer, who deployed his entire repertoire: from the most romantic ballads like Desire, Asylum o Parallel universesto more vindictive songs like Milonga of the Jewish Moor o Boliviathe latter is a love song to the country that welcomed his family on his father’s sideGerman Jews, who sought asylum in South America during the height of Nazism.

Maybe it’s the Drexler’s ability to move his hips with skill and seductive ability, maybe it’s his charisma when interacting with the audience or maybe the wit that emerges from his melodies, either way, the singer-songwriter has a following of die-hard fans who left their vocal chords as a sign of thanks every time the singer finished a song. Drexler returned the favor by singing some of his classics like Silence o Seadedicated to the Argentine singer-songwriter Mercedes Sosa. And, as who does not want the thing, the time came to say goodbye and to do so the Uruguayan chose Everything transformbecause, as the song says “cada uno da lo que recibe, y luego recibe lo que da”, which in Drexler’s case would be a good dose of artistic tightrope walking.

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