Sweating with Charli xcx and Troye Sivan at Primavera Sound
The first of the so-called "power girls" to land at the festival was British artist Charli xcx. Her presence caused quite a stir among the audience, predominantly foreigners, who danced and sang along with her songs with gusto, much more than those of Australian artist Troye Sivan, with whom she shares the "Sweat" tour, which, after passing through the United States, had its only European stop at Primavera Sound. There were no surprises, and their shared performance followed the same script, with an identical repertoire and show. A low-key show, compared to previous ones that have graced the same stage, such as those of Björk or Lana del Rey. With pre-recorded music and only a group of six dancers who basically supported Troye Sivan, leaving the new British techno-pop, or hyperpop, diva to show off her style solo.
More than a shared show, it was a concert in which they divided the spotlight among different acts or segments; in blocks of individual songs that, far from showing cohesion, were somewhat different worlds. Only toward the end of the thirty songs performed did they come together to share the mics for "1999" and "Talk Talk," two songs by Charli xcx that at one point featured Troye Sivan.
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The two had already performed at the previous edition of Primavera Sound, then as emerging stars and now fully established. The South African-born Australian singer took the opportunity to celebrate his 30th birthday, demonstrating his mastery of pop language with highly melodic songs full of a strong homoerotic component. He showcased this, whether simulating fellatio in the opening track "Got Me Started," showing off his feminine side alongside a male dancer in the steamy "One of Your Girls," or greeting the audience with "Barcelona, hello, how are you faggots" before launching into the effeminate "Bloom."
For her part, Charli XCX played her role as a "party girl" with authority, sporting little clothing and knee-high boots to exude sexuality in songs with a marked techno character, such as "Von Dutch" or "360", both from her latest album, "Brat", which has allowed her to go from the underground to the most dazzling mainstream. So much so that her mere presence galvanized fans who sang and danced, as if there were no tomorrow, to "Club Classics", "Unlock It" or "Guess", songs that were "raver" to the max. For another of her songs, "Apple", Chappell Roan, who will be in charge of closing the festival on the same stage, appeared on the screens, having a blast.
Thursday night offered a chance to enjoy some of the festival's delicacies. This was the case with British band Spiritualized, who were invited to play their second album, "Pure Phase," in celebration of its thirtieth anniversary. A classic of so-called "space rock," played in great detail by a massive band of thirteen musicians, including wind and string sections, led by guitarist, singer, composer, and soul of the group, Jason Pierce. A lysergic trip, alternating narcotic passages with whirlwinds of distortion, we had to skip in order to hear the performance of fellow Brit Jamie xx, who had already triumphed at the festival as part of the group The xx. His elegant set served to prove that he is a musical omnivore, dabbling in drum 'n' bass, house, and other more atmospheric styles to weave together an electronic tapestry with many nuances.
Another impeccable concert was offered by Parcels, an Australian group based in Berlin. A quintet that draws with relish from the sounds of the past but blends them with exquisite taste. Their predilection for funk and disco music is notable; the riffs of Nile Rodgers and the work of Daft Punk are in their DNA; synthetic and vocal harmonies are another of their strengths. All of this, combined, gives their songs a shimmering, danceable, pop, catchy, and anything but revivalist tone. In addition to playing it safe, the festival also focuses on new things outside the box. This was the case of an almost clandestine concert, attended by barely two hundred people, but which left a deep impression on those present. This is the work of Ukrainian artists Heinaldi & Andriana-Yaroslava Saienko, who combine a modular synthesizer and voice, respectively, to offer a treatise on futuristic electronics and medieval chant, adapting compositions by the Benedictine mystic Hildegard von Bingen, a 12th-century abbess considered a precursor to feminism. Her visions, in Saienko's extraordinary voice, reach the magical status of a grimoire.
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