Nacho Vegas deserved the applause

The man from Gijón in a melancholic and vampiric pose / CARLOS Gª AZPIAZU

the baffle

The Asturian singer-songwriter, looking at the ground so as not to lose concentration, presented his album ‘Mundos inmóviles collapsing’ at the Muxikebarri, with the capacity sold out by people wanting to applaud him

There was a lot of desire to see the burned-out indie singer-songwriter and ex-podemite Nacho Vegas on Saturday at the Muxikebarri in Algorta. Such an impression was evidenced in the capitalist rhythm of advance ticket sales, in the exhaustion of capacity before the day of the concert (limited to 60%: 391 seats), and in the public’s desire to applaud their once-toxic idol. . And the truth is that Vegas deserved the many long standing ovations received on the second date (the first was on Friday in Navia, with the same repertoire but in a different order) of the tour of his album ‘Mundos inmóviles collapsing’ (Oso Polita, January 14), from which 7 of its 9 cuts were played in a concert of 16 songs in 93 minutes with premeditatedly gloomy lights, an acceptable but improvable sound (raising Irazoki’s guitar and clarifying the singer’s voice above all), and inspired concentration of the beloved leader, who sang looking at the ground, where there was neither a teleprompter nor papers with the long letters that he knew by heart (another merit of the man from Gijón).

Joseba Irazoki on electric guitar and banjo /


Vegas this Saturday said “you and you” (at least ladies first), used a megaphone on two occasions and on two other occasions he hung up the acoustic guitar with his band, sang a John Prime song translated into bable (‘Muerre’l Branu’) and at least three songs included death in their lyrics. And Nacho Vegas, who came on stage tall, long-legged and in a gray suit, intoned between pained and almost recited, reaching four climactic moments, although more than in gradation he achieved it in beautiful and instantaneous linearity: in the folkie ‘Ser tree’, in the story with a trembling voice ‘Hablando de Marlén’, in the apparently biographical ‘El mundo sobre ti’, and ‘in La big final joke’.

Despite its apparent homogeneity, its mostly melancholic songs housed distinguishable substrates, from ragtime to country, from the vampire waltz (‘Ciudad Vampiro’, in degradation, since from the magnificent it decayed based on populist clapping and timorous choruses) to slowcore (‘El don de la ternura’, something a la McEnroe primitives), from dream pop (‘La septima ola’) to post-rock, from the funerary and also autobiographical (‘Ramón in’) to Dylanian gospel ( ‘La pena o la nada’) passing through the narcotic and velvetian, and so on until the double encore, which started it by flattering us by saying “you are a love” and dismissed it by saying “goodbye” and throwing a kiss in the air with the two hands. Well, he will be in Vitoria on May 27, and on July 7 at the BBK Live festival.

The whole sextet /


Nacho Vegas, from whose band came the now famous León Benavente, performed in a sextet at the Mixikebarri: two Asturians (he and drummer Manu Molina), one Navarrese (the charismatic guitarist Joseba Irazoki, from Bera de Bidasoa, “our Basque connection” , the boss introduced him), and three came from Catalonia: the bassist Hans Laguna (born in Zarauz), the keyboardist Ferrán Resines and the guitarist and second voice Juliane Heinemann (substitute for the announced Cristian Pallejà), a Berliner from Barcelona (“« of the good Berlin, the East”, the Asturian enfant terrible joked referring to the communist district from which its inhabitants fled until the famous wall was built so that they would not leave anymore; Juliane was born in 80 and the wall fell in 89, yes no, there she would continue, bored with life).

Juliane, guitar and second voice, in a corner of the stage /


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