His latest album ‘Tinta y Tiempo’ is a great album, no matter how you look at it. She had endorsed the past Latin Grammys with 7 awards. The WiZink presented last night a full house, except for the upper stands, for one of the outstanding concerts of this start of the year. And Drexler delighted the Madrid public with one of those concerts that manage to excite. The musicians Coque Malla and Marwan were among the audience.
Some recordings of birds served as background music to set that natural connection with the environment and with Drexler’s music. The concert starts with a voice note, by Alejandra Melfo, Drexler’s Venezuelan cousin with a dissertation between the poetry of science and the evolution of the Mesoproterozoic. Jorge Drexler appears on stage and kneels before the audience. February 1 of this year marks the 28th anniversary of his arrival in Madrid, Drexler tells us.
It presides over a scenic sobriety, with a white floor and a white screen with a huge white background, and elegant lighting. What referring to the blank page. She covered the 10 songs from the last album and an exquisite selection of songs that are part of his repertoire. In ‘Fusion’, the Guinean showgirl Alana Sinkëy shines. In ‘Inoportuna’ Meritxell Neddermen’s keyboard solo dazzles with a jazzy vibrato. She is accompanied by a deluxe sextet to which they add Carles ‘Campi’ Campón (bass and programming), producer of the record, Borja Barrueta (drums), Javier Calequi (guitar and vocals) and Miryam Latrece (vocals).
Lots of dynamism on stage. At the end of ‘Era de amar’ it connects with ‘Puente’ as Gustavo Cerati said “love crosses the bridge”, his little tribute to the Argentine musician. In ‘Oh, algorithm’, on the record there are some verses in English that Noga Erez sings, uses irony, and wields «Who wants me to want what I think I want?». ‘Salvapantallas’ is dedicated to his brothers, but he dedicates it to his children Luca and Leah who are at the concert, and the lights from the audience’s mobiles create a beautiful air of candlelight.
Drexler shows his generosity by recommend the personal projects of each member of your band. Magnificent percussion in ‘Tinta y Tiempo’ by a South American instrument that is a caja with the sound of a flamenco cajón, like soleares. Remember his first concert in Madrid at Libertad 8 invited by Pedro Guerra. And the quatrain in tenths of ‘The day you premiered the world’ suggested by maestro Chicho Sánchez Ferlosio in the Galileo Galilei room. C.Tangana appears in ‘Nominao’ and the public goes crazy. Pucho Tangana urges Drexler to sing acoustically ‘La edad del cielo’, his favorite Uruguayan song, and Drexler dedicates it to Patricia, C. Tangana’s mother, who had a birthday yesterday.
‘Duermevela’, dedicated to his mother Lucero, is a full intimate moment. ‘Movimiento’ provides a spectacular moment with the Uruguayan candombe band La Melaza, 15 female percussionists. The audience stands up, in a little outburst of dance with ‘Tocarte’, again with C. Tangana. “What a tremendous thing about La Melaza,” says Drexler. They finish off their most important concert in Madrid with two encores. “I’ve never done anything like this before,” admits Drexler. Two print encores with a first batch made up of ‘La guerrilla de la concordia’, ‘Luna de Rasqui’ and ‘Todo se transforma’. And the final touch in acoustic with ‘Amor al arte’. «It will be that you mess me up or I mess you up. Dance, dance, dance» they sing in ‘Dance in the cave’ which ends in the middle of the party again with La Melaza, and with epic dance to ecstasy finale going down the stairs to access the stage. Drexler signed one of the best concerts of the year.