Primavera Sound in brief, day 3

As promised, here comes the final post on "our" Primavera Sound Festival (PS) 2019, with the quick summary of what happened in Saturday's 1st, plus a comment on Sunday's 2nd. One more time, let's talk about music!

The Good

Built to Spill: Another box to be checked in this PS, we were finally able to see the Boise band lead by Doug Martsch live. And in a very special occasion, performing the flawless 'Keep It Like a Secret', in what it became an hour of getting completely lost in the sound, during which the Primavera stage transformed in the 'Center of the Universe' for a rapturous while. Not-so-secret, happily.

Best kept secret from Idaho. Photo: Bloodbuzzed

Jarvis, making you dance and jump... again
Photo: Bloodbuzzed

Jarv Is: It's a no-brainer. If Jarvis Cocker is in the building you go watch what he's about to offer. He's just one of a kind. On Saturday, at Ray-Ban stage he presented his new music adventure, Jarv Is, delivering a set of newbies. Obviously, that made the audience unable to connect fully, but the Sheffield's icon, in our opinion one of the best frontmans ever, can't miss a beat. Promising sounds, theatrical moves, odd, hilarious engagements with the crowd (that Italian guy, freaking out). Jarvis never disappoints.

Filthy Friends: Another mandatory gig, despite taking place on Sunday and having to suffer some trap act (beyond terrible) before two Blog superheroes, Peter Buck and Corin Tucker, took the CCCB stage, alongside the great company of an hyperactive Kurt Bloch, a shiny happy Scott McCaughey and the efficient Linda Pittmon on drums. There were some issues regarding Tucker's vocals (windy afternoon), but the energy and easygoing attitude, plus the strength of the diaphanous rock tunes contributed for a very pleasing afternoon, a nice way to end our PS with a smile.

The mighty friends. Photo: Bloodbuzzed

The Bad

Saturday's holes and mixtures: It was something to be expected. The PS turn towards mainstream, embracing the most commercial side of R&B, latin music, prefabricated pop, reggaeton or trap... took its toll, creating several huge gaps in our schedule during Saturday. Not much to see, if you weren't interested (at all) in the 'New Normal', a situation that is rare (and disappointing) in a Festival with such a great offer. But, in the other hand, maybe we shouldn't complain that much, because the amount of dubious acts were all programmed in Mordor, so we didn't have to visit the most exhausting area of the Festival, avoiding not only the unwanted music, but also the biggest crowds, allowing us to enjoy the ones we want to watch in a much more comfortable way instead.

The Queen
Stereolab: The most anticipated gig of the PS for us (never seen live before), but we must admit the previous excitement (another couple of Blog heroes in Laetitia Sadier and Tim Gane) was mixed with some concerns, regarding the possible clash of their experimental indiepop musik with this "millennial era" of permanent distraction. But the doubts quickly vanished, replaced by a stunning perfomance, rockier than expected, dynamic and energetic, making the audience dance with their komische sounds. Playing in the milky night of Barcelona... 

At the French Disko. Photo: Bloodbuzzed

Here are the links of the previous chapters! Day 1 and Day 2

Primavera Sound 2019 in brief, day 2

Back to regular life after Primavera Sound Festival (PS) 2019 ended! So, while we adjust to our day-to-day schedules, here comes the second of our quick recaps of what we just experienced at Parc del Fòrum, today focusing in Friday's 31st. Let's go!

Lucy Dacus, historian at work. Photo: Bloodbuzzed

The Good
Lucy Dacus: The hour in which her gig was programmed was criminal. The Ray-Ban stage was, in principle, too big. But these unflattering factors became irrelevant the moment Ms Dacus started singing. What an arresting record 'Historian' is (if 'Night Shift' doesn't touch, you don't have blood in your veins). What a mesmerizing talent the Virginian is.

Kurt Vile: In an edition where the guitar seems to be a prehistoric, outdated instrument (of course, IS NOT), the proposal from the Philadelphian musician and his backing band was kind of challenge against the new "definition of cool". A guy who doesn't care about poses, looks or flashy movements. Just about indulging you into his hypnotic guitar-driven, slightly psychedelic, hazy folk-rock. He just killed it at the Pull & Bear stage.

Vile & The Violators, pretty pimpin at Primavera. Photo: Bloodbuzzed

The Bad

Snail Mail: The most disappointing gig from our entire PS took place on Friday afternoon. We love 'Lush''s immediacy, electricity and straightforward indiepop charms... But we couldn't hear any of these wonders at the Primavera stage. First technical issues, then serious vocal problems, with abundant squawks and misses from Lindsey Jordan (was she ok?). We demand a quick return to the city to compensate the disillusion. (Please!)

The Queen
Birkins & Ken: What can you expect from a covers gig? If you have our dear Birkins alongside great company, you'll have one the highlights of the whole festival. Their rendition of 'Ziggy Stardust', David Bowie's masterful record was exhilarating, unadulterated fun. Initially fuelled by Cris' powerful vocals... and then completely stolen by Ken Stringfellow's electrifying performance, pure punk-rock. This man doesn't get enough credit, when we owe him so much. First as half of the mighty The Posies. Secondly, being part of the immortal Big Star. Later on, touring and playing with R.E.M. (not enough adjectives to explain what that means for this Blog) And now, storming the not so Hidden Stage. Unforgettable. Put some Ken in you life!

Birkins & Stringfellow, "stardusting". Photo: Bloodbuzzed

Suedeheads, again: Didn't know what to expect from the veteran Brits before their show... but what we found was the most rejuvenating, enjoyable gig of PS19 for this Blog. Suede delivered a surprising greatest hits show, with Brett Anderson going relentlessly in search of the connection with the audience, who responded accordingly. It couldn't be any other way when the band is throwing you hit after hit in, such as 'We Are the Pigs', 'So Young', 'Metal Mickey', 'Filmstar' (beat that four killing combo!), 'The Drowners' or 'Animal Nitrate', among many others, with such passion and fiery energy. The attitude, the frontman, the tunes... Oh! They still have it. Intact.

Suede, everything still flows. Photo: Bloodbuzzed.

The third and final chronicle of the PS19, covering Saturday 1st, is already "in the kitchen", so stay tuned!

Primavera Sound 2019 in brief, day 1

We are quickly approaching the final stretch of Primavera Sound Festival (PS) 2019! So, while we try to recharge some batteries before the long Saturday (we never learn, don't mix work and Festival, folks), we are to ready to begin with the first post of our traditional quick chronicles of what are we experiencing there. What follows is our take of Wednesday 29th and Thursday 30th. Let's go!

Long-haired and hyper-addictive indiepop from the North.
Photo: Bloodbuzzed

The Good

Melenas: In a year where indiepop has been clearly neglected, to begin the Festival with such a wonderful band became kind of a statement... aside from 45 minutes of fun. The band from Pamplona has everything: guitars, melodies, knockout choruses, and that ease at stage that can be disguised no matter how many hats, jewelry or poses you can't ... if you haven't got tunes. Instant love.

Malkmus and Co., sparkling hard. Photo: Bloodbuzzed

Mr. Malkmus: Didn't have very good memories of our previous experience with Stephen Malkmus (a Primavera Club show, quite a looong ago). But at Primavera stage on Thursday we were able to remove that thorn in our side. Defending their fantastic latest album 'Sparkle Hard' (love 'Solid Silk' and 'Middle America'), Mr Malkmus (celebrating his birthday) and the Jicks were rockier, groovier and goofy all the way. A pleasant, enjoyable gig from start to finish. Monkey off our backs...

The Bad

New normalities: It's the DEBATE, in capital letters, around PS: has the Festival sold its soul? Or it's just embracing the sign of the times in music? If you somewhat follow this Blog you should easily guess we clearly incline ourselves for the first question. We could discuss it for hours, but to summarise it: PS is now following the trend of "catch-all" festivals, meaning mainstream music has to be a very meaningful part of it. The difference is PS still tries to hide that turn in the discourse, pretty elaborated, of the "New Normal". But when you just get into the Parc of Fòrum and realise the record fair and flatstock (posters fair) have been replaced by a Pull & Bear store (and Idealista and Ikea are also Festival brands, note the irony when housing it's by far the biggest, poignant and shameful, problem of the city) is easy to see for yourself what the new reality is...

Welcome to the "new & normal" Primavera Sound mall. Photo: Bloodbuzzed

The Queen
The female assault: Not everything in the "PS move" is negative or dubious. As a matter of fact, there's one conscious decision, no matter if it has arrived a bit too late, that has to be praised. Of the eight first acts watched in the two days of PS, six were completely female or female fronted/leaded, a trend that has followed (you'll see) during the whole event. In that initial batch of gigs Julien Baker and Soccer Mommy gave solid, almost flawless performances... but we have to highlight Bridget St John and Courtney Barnett shows. The veteran folksinger achieved moments of pure magic (that rendition of Dylan's classic "Just Like a Woman", these meaningful lyrics still so valid today), while our beloved young Australian took the clothing stage by a storm with a heavyweight performance, offering so much electricity and grit that was capable to overcame the chatters and posers (a.k.a the usual suspects) gathered in Mordor.

Sometimes Courtney charms you and kills it, and sometimes she just kills it.
Photo: Bloodbuzzed

Stay tuned, the second chronicle of the PS19, covering Friday 31st, is just around the corner!

Primavera Sound 2018 in brief, day 3

Without hesitation, we arrive to the third and final chapter of our quick chronicles of "our" Primavera Sound Festival 2018. Saturday 2nd of June was a pretty exciting day, intense and complete, with promising newcomers and surefire heavyweights. It was a full schedule... so let's begin!

The Good

Ms. Graham, indeed does ring a bell
Photo: Bloodbuzzed

Third female afternoon in a row: Núria Graham and Christina Rosenvinge were the responsible of igniting our afternoon. The young Catalonian artist and her band were excellent (once again, we must add) showcasing the highly recommendable 'Does it Ring a Bell?' with stunning aplomb and confidence. She's great and, if there's some hope in the world and we're not completely deaf, she should hit big. She was followed by a veteran that was particularly expressive  and enticing at Seat stage. Ms. Rosenvinge showed charm, mystery, strength... plus an unquestionable knowledge of what does it mean being in front of a large audience, leading the way.     

Slowdive: We were a bit late to be in a front row position, but contrary to what was going to happen afterwards with the Arctic Monkeys, the sound was so powerful and the gig so fierce and tightly executed we were able to enjoy it even from a distant (and chatting) location. Like The National yesterday, you can't go wrong with Slowdive. What an unexpected, much longed, welcomed and special return to form this has been. Please keep coming...

 Rosenvinge, still a case to be resolved, luckily. Photo: Bloodbuzzed

The Bad

Too much Mordor (part II): History repeating with what happened the day before. Criminal sun, dust and too many people wandering around. And the collapse to leave the area was appalling after the Monkeys gig, although it has to be said that some of the blame should also rest within the public shoulders, not contributing at all to ease the circulation.

Arctic Monkeys: Arguably the biggest name of this year's edition... that was major disappointment. Not because of the band itself, that was impeccable (although not very engaging and with a setlist heavily focused in their last two records, not the most dynamic) but due to the strangely weak sound, hardly listenable from the far-yet-not-that-far location at Mango stage. For once, it was easy to understand that thousands of people weren't really into it, chatting and looking for things to do/go.

Rolling Blackouts C.F., pop waves (always) from down under. Photo: Bloodbuzzed

The Queen

Rolling Blackouts Coastal Fever/Jay Som: Yeah, we're going to give an ex aequo this time. Because both bands provided us the most joyful moments of the Festival. First, the mighty Australians (probably the most featured band at this Blog with taking into consideration their short career to date) demonstrated WHY any good festival that claims to be so SHOULD have several Antipodean bands in their roster. Energetic, jangly and unstoppable. Later on, it was time for Melina Duterte and her colleagues to conquer the (not so big, kudos to everyone to chose the Americans instead of Lorde, you are hope) audience gathered at Pitchfork stage. There's a natural charm that can't be faked. The Californian quartet looked, acted and played like a genuinely fun, easygoing, bunch. The kind of people you would like to go for drinks and goof around. Add they have enough, lo-fi, quirky and immediately lovely, songs to knock you down, and we must assume the fact: here's a band to love. Two, to be more precise...

But WE like the bus! Fun with Jay Som. Photo: Bloodbuzzed

Here are the links of the previous chapters! Day 1 and Day 2

Primavera Sound 2018 in brief, day 2

No time to waste. Here's the second round of our traditional briefings of what went on for us within the Primavera Sound Festival 2018. Friday 1st of June came with several "big names" and a few promises to be confirmed so let's begin!

The Good

A great female afternoon: The combo of Waxahatchee-The Breeders is just a fantastic way of beginning a Friday afternoon. The band of Katie Crutchfield, which includes her amazing sister Allison (what a wonder when their two voices intertwine) and the great Katie Harkin (Sleater-Kinney, Sky Larkin), gave us a top-notch show, passionate and powerful. We love 'Out of the Storm' and believe the future couldn't be brighter for them. The day kept getting better and somewhat linked, because after Waxahatchee it was the turn of the Deal sisters, who are so genuinely fun and lovely you really don't care about the initial false steps or little bloopers. Their gig, like the weather, got warmer and warmer, ending in a memorable, gigantic, way. A big big love for both bands.   

Waxahatchee, sister's act. Photo: Bloodbuzzed

That band from Ohio: Luckily, we've seen The National in many different occasions and much better, smaller venues now, so we didn't bother about getting in a front row (if you want to be in a closer position for a gig in Mordor, you must sacrifice the previous or next one) position. From the distance, it's pretty obvious the gig wasn't going to be that special for us, but still the band was impeccable and unafraid of getting into their latest and more experimental 'Sleep Well Beast', or deliver a setlist generous in ballads and downtempos. In our opinion, highlights were a rougher 'The System Only Sleeps In Total Darkness', 'Fake Empire' and finale 'About Today', all stunners, as well as newbie 'Rylan' sounding promising. They never disappoint.

Matt Berninger meets the digital age. Photo: Bloodbuzzed

The Bad

Too much Mordor: After several editions without ending there that much, this PS18 we have spent too much time within Seat and Mango stages, the clearest symptom this year's line-up wasn't that appealing for us. Mordor is hell. No way to hide from the sun, too many bored people being there because the headliner "obliges" (meaning endless chat) and too many bar zones (meaning more human traffic of bored people). Add the issues of leaving the area, which is something that the organization has to improve. There's a Festival in Mordor and another one, much more pleasant, out of it.
Charlotte Gainsbourg: You know when you go somewhere because you have a reminiscence (not confirmed) that once you enjoyed it? It also works with records & artists. And usually, it's a mistake. That was the case.

The Queen
Father John Misty: It was in 2012 and Mr. Tillman opened the day (Saturday) at Auditori, very early in the afternoon. The venue wasn't full by no means, and he was doing a show on his own, acoustic guitar and dark sense of humour. How times have changed! On Friday he was accompanied by a full band and an orchestra, clearly one of the headliners of Friday line-up. And deservedly so. The show was arresting, flawless and enjoyable from start to finish. A performer at the top of his game, doing wonders with a song book that at Seat stage sounded like a collection of classics. Folks, the man has it. Probably the gig of the Festival. Must-see in a smaller venue as soon as we can. 

When pure comedy turns into pop. Photo: Bloodbuzzed

Don't go anywhere, the final chronicle of the PS18 on Saturday 2nd, coming very soon at the Blog!

Primavera Sound 2018 in brief, day 1

The Primavera Sound Festival (PS) 2018 is almost over! So, here we are, pretty exhausted (again, the not very recommendable combination of daily work and Festival), but ready to being with the first round of our traditional quick chronicles of our experiences there. What follows is our take of Thursday 31st, with a note on Wednesday's fail. Let's go!

The Good

The War on Drugs: Yeah, the millennial era might be all about synths, danceable (or kind of) grooves and that sort of shallow urban pop-indietronica that fits so-well with glasses & clothes advertisements, but dammit if the best gig of the day wasn't full of guitar riffs & solos, plus the urgency and the mystery offered by the most iconic and traditional instrument of rock history. Adam Granduciel and Co. just nailed it. Terrific band, terrific tunes.

The War on Drugs, lost in the dream of rock. Photo: Bloodbuzzed

The infinite, powerful worlds of Laetitia Tamko
Photo: Bloodbuzzed

Two more female artists to follow closely: On a pretty "empty" day (to a poignant level compared with previous years, something that has been the sad trademark of this PS' edition, with the exception of Saturday) the gigs of Vagabon and Amaya Laucirica were very welcomed. Keep an eye on them...

The Bad

(Missing) Spiritualized: Is it that hard to make some sort of announcement or use the Festival App properly to let the people know how are the tickets needed for the Auditori selling? The organization could easily avoid extremely long queues and the understandable anger from concertgoers. We were the unlucky ones that missed grabbing a couple for a matter of minutes, so pretty frustrating to wasteone hour and half waiting for nothing...
Not made for this times: We'll try to keep the rant short and try not to repeat ourselves that much. The millennial age is just killing music. It should be about the songs, the artists that make it and the feelings these tunes bring to you, not about your looks (by the way, Mango?), your selfies, your constant, irrelevant & discourteous chatting, or the amount of beers you can drink... Raise your head and look at the stage, not to your smartphone. It's MUCH MUCH more interesting...

The Queen
The Twilight Sad: In terms of sounding, the Scotts show couldn't compete with The War on Drugs's one. Unfortunately a recurring trend within the Festivals and gigs, bass (and/or rhtym section) are too heavy in the mix burying vocals for the sake of power, that happened with The Twilight Sad. But we were compensated, extraordinarily, with something even more important and meaningful: real, intense, touching, unadulterated emotion. Coming straight from the heart and the boundaries that not even the death can take away. Humans talented and passionated enough to be in front to of a stage, and with the humanity, the guts and kindness to open their hearts out in front of us to pay tribute to a lost beloved pal. Goosebumps and tears. James, we're sure you did your friend proud. Thank you.

The Twilight Sad, Keeping Ourselves Warm. Photo: Bloodbuzzed

Stay tuned, the second chronicle of the PS18, covering Friday 1st, is about to come!

Primavera Sound 2017 in brief, day 3

And here arrives the third and final take of our quick chronicles of the Primavera Sound 2017, with our impressions of Saturday 3rd, just an excellent day, with a couple of really memorable gigs to put a terrific end to a Festival that might rank lower than previous editions for us, but still has had much (much more than initially expected, to be honest) to be enjoyed, celebrated and written about. So, time to go back to the Fòrum!

The Good

Van Morrison: A music myth that is part of my childhood and teenager soundtrack, that opened his gig with 'Too Late', 'Moondance' and 'Have I Told You Lately'. It was just impossible not to get emotional...

The "lion of Belfast" gets jazzy. Photo: Bloodbuzzed

Angel Olsen: First thing first. She would deserve to be on the final section of this post, taking the top spot of the day (but we had to choose just one gig). Impeccable, magnetic, irresistible from start to finish. In total command of the stage, the tunes and the audience during the complete set. Confidence, talent, solid band backing her, charm and huge tunes, the climax arriving with the gigantic 'Sister', one of the Blog's favourite tunes from past year. Just mesmerizing.

Angel Olsen. 'Our' woman at Primavera Sound. Photo: Bloodbuzzed

Hamilton Leithauser: Another voice and mighty presence live to follow. Hamilton is a 'surefire'. Every time his throat explodes, you 'go places', every word he sings sounds true and heartfelt. He seemed really happy to be at Ptichfork stage, enjoying himself and giving all he has to put a great show. And his solo career is already sprinkled with amazing tunes, like 'Sick as a Dog', 'Alexandra', '1959' and, of course, the immense 'A 1.000 Times', another favourite from last year. You can't wrong with Hamilton.

Mr. Leithauser, would watch him live a 1.000 times. Photo: Bloodbuzzed

The Bad

Queuing for Auditori (second part): Yet again, there has to be a better way to organize this sort of massive gigs at Auditori. This time (2nd Magnetic Fields show) we didn't have to buy an extra-ticket, but still we queued for quite a while... and missed a couple of opening tunes. Again. 
Van Morrison: Yes, this is not a mistake. Van 'the man' show deserves to be in the previous category but also in this one. Because as much of a touching moment was seeing him live, his singing (or his lack of, better said) and the sort of bland, 'Starbucks' jazz versions of his eternal tunes they don't any justice at all to his memorable legacy.
As****es: We haven't complained about annoying people at the Festival so far. Luckily, we felt we didn't face as many annoying people (chit-chatters, posers) as previous editions... until Saturday. During Hamilton's gig we dealt with the 'traditional' category of bored folks joining the friend that really likes who's playing... and are decided to make him (and all the audience) notice they are THAT uninterested. But there was an even more irritating situation. During the majestic Angel Olsen's show we had to listen a couple of, how can we define them? Internet trolls showing up? XXI century haters? Why on Earth someone should decide, with all the options they had at PS, to go watch someone that they hate in advance? And why the need to express that hate to the unknown mass that is gathered to hear & see the artist? What a pain in the arse (and absurdly wrong) they were...

The Queen
Teenage Fanclub: I insist, Angel Olsen also deserves to be included in this spot. But having to choose only one option as the top gig of the day we have to go with the Scottish legends because a) It was the first time (finally!!!) seeing them live; b) they were terrific and c) they played 'Start Again', 'Star Sign', 'About You', 'I Need Direction', 'Sparky's Dream', 'I'm In Love', 'Everything Flows', and the list can go on... Did we need to say anything else? How can you beat that? A lot of singing our throats out, sweating, dancing and smiling for the best gig (alongside Ms. Olsen) of the Primavera Sound Festival 2017 for us.

McGinley, Blake and Love, indiepop dream team. Photo: Bloodbuzzed

Here are the links of the previous chapters! Day 1 and Day 2 

Primavera Sound 2017 in brief, day 2

As promised, here's the second round of our quick chronicles of how it was Primavera Sound 2017 for us. After the first post devoted to Thursday 1st of June, here comes Friday 2nd, a day that seemed the weakest in paper, but still had several noteworthy moments to enjoy and highlight. Let the good times roll!

The Good

Lawrence Arabia: Charming pop music at the Hidden Stage courtesy of James Milne (what an amicable frontman) and his locally assembled band (Hi-jauh to the rescue!), putting out an impeccable, gentle and immediately lovable show to start the afternoon with a big smile.

Lawrence Arabia, Christchurch-Barcelona pop connection. Photo: Bloodbuzzed

Mitski: Among the best album debuts of last year, Mitski Miyawaki stark, minimalist staging approach might make you think on a cold performer on a first impression. What a mistake that is. She lets the music do the talking, with the fury coming from the bursting guitars, the visceral screams and the blows of her melodic vocal turns. And soon you realize she is going to be in the same league of St. Vincent or Angel Olsen. She is untamable.

Mitski, static wonder. Photo: Bloodbuzzed

The Make-up: You might find the band very unsurprising, too classic in their attempt to recreate that "vintage" funk-soul-rock spirit. But NO ONE can't deny the power, joy and good vibes a night with Ian Svenonius can provide to any willing to listen & watch. Summoning the spirits of James Brown and Iggy Pop, giving everything he has and beyond to engage the audience, the wild frontman and his well-oiled band are a guarantee of fun (and a threat to that hipster self-absorption).

The Make-up, rock'n'roll suicide. Photo: Bloodbuzzed

The Bad

Queing for Auditori: There has to be a better way to organize this sort of massives events at Auditori. I mean, you waste a lot of time just queueing to buy the mandatory extra-tickets in advance... and then you spend another lifetime queueing again to enter the gig. The result? You have missed the four first tunes of the show. Frustrating.
Eating at Primavera: Rephrasing a famous Woody Allen quote "The food in this place is terrible. Yes, and it's so expensive one would expect not even the Brits will pay for it". Enough said...

The Queen
The Magnetic Fields: Another "first time" and a mandatory gig was seeing Stephen Merritt live presenting his new concept album '50 songs memoir'. Splitted in two shows (Friday and Saturday), of 25 songs each, The Magnetic Fields proposal was a serious threat to every PS17 line-up planning... but a lovely experience to be seen and heard. Cute and intimate stage setup (very nice visuals) a seven-piece band enveloping every single tune with grace and elegance. An entertaining story-biography (more engaging the first day, imo the songs were more diverse and less languid) to be told with that deadpan, offbeat sense of humour that is one of Merritt's trademark. But another of his "signatures", by far the more important one (and just in case you didn't know it), is that the man can write POP TUNES. At Primavera Sound we were lucky to hear a great bunch of them.

Special guests at Stephen Merritt's home. Photo: Bloodbuzzed

Brief of the third and final "big day" of the PS17, Saturday 3rd, arriving very soon!

Primavera Sound 2017 in brief, day 1

Just having some rest after the end of the main days of Primavera Sound Festival (PS) 2017, what an intense weekend this has been! (our advice is not to mix daily work with Festivals, if you can). So, pretty exhausted but with the memories still fresh from the gigs enjoyed, here's the first of our traditional quick chronicles with our experience at this Festival's edition. What follows is our take of Thursday 1st, with a couple of notes on Tuesday's showcase at Apolo. Let's go!

The Good

Heaven is far from Mordor: We swear it. There's "another" Primavera Sound happening at the smaller stages (referring here to Pitchfork and Adidas). On Thursday, most of our to-see list of bands was, by pure chance, playing on both stages, and it just offered us a great, comfortable, smooth afternoon-night of music.

Alexandra Savior, bewitching mystery girl. Photo: Bloodbuzzed

Julia Jacklin, let the Aussie win, you'll thank me.
Photo: Bloodbuzzed 

Women should run the world: Les Sueques, Let's Eat Grandma, Kokoshca, Nots, Alexandra Savior, Julia Jacklin (and we missed Kate Tempest)... Tuesday and Thursday were full of interesting female artists/bands, proving the point the most exciting music is coming from women these days (been a while now)... a tendency that was going to repeat during the whole Festival. Ms. Jacklin in particular delivered a near-perfect show, quietly captivating, self-assured, naturally warm & charming, proving she's fated for great things. Keep and eye on her...

Fun with the Molochs: Nuggets garage, early Stones-styled R&B, hints of that "Mancunian grit"... What a contagious and straightforward show The Molochs put. Give me that beat!

The Bad

Let's Eat Grandma: It might had to do with the massification at Apolo, making the air unbreathable, but just let's say we didn´t get it, what an amorphous collection of tunes...
Primavera music fair: It is just me or it's getting worse each year? Where are the records? The amount of hipster s**t to be sold is just depressing. And what the hell is FNAC doing there, by the way?

The Queen
The Afghan Whigs: Eager to see Greg Dulli and Co. live for the first time, the band was instantly ready to take Ray-Ban stage by assault. The show was furious and passionate, all muscle and intensity, with not a single dull moment or less remarkable. Something that speaks wonders about their "resurrection", considering the gig was heavy on tunes from their latest two albums ('Demon in profile' is a killer live). Add the unstoppable force of well-known high-caliber pieces as 'Gentlemen', the stormy 'Debonair', or the highlight of the night imo, the majestic take of 'John the Baptist', the fierce performance of Dulli, and the instrumental flawless, and there's only one possible conclusion. A lot of black love to end the first day of PS on a very high note.

The Afghan Whigs, high-blooded souls. Photo: Bloodbuzzed  

Brief of the second "big day" of the PS17, Friday 2nd, coming next in a hurry, so stay tuned!

Best Concerts of the Year 2016

After our favourite EPs, now it's time to unveil the list of our best concerts of the year! Reaching the the amazing "heights" of the live music seen during 2015 was nearly impossible, but still, the ten gigs selected below are full of unforgettable moments. Great veterans and exciting upcoming bands, several "first times" and a couple of "special situations". Hope you like it!  

10. Desperate Journalist (Minifestival, March 12th)
Too short to rank higher… but what a blast! Giving everything they have from second zero, kicking the gig with ‘Control’ and ‘O’ as starters, taking no prisoners. Heavyweight post-punk, with an unstoppable melodic power and an overwhelming breakthrough, led by the stormy presence of vocalist Jo Bevan. She's an authentic force of nature, able to shock the audience with her frantic performance to disarm you with the introspection of ‘Remainder’ or ‘Wait’ in a matter of seconds. Desperate Journalist are fated for greatness.

Desperate Journalist, the sound and the fury. Photo: Bloodbuzzed

9. PJ Harvey (Primavera Sound Festival, June 4th)
It ranks lower because of the unbearable, extremely annoying, disrespectful behaviour of people. So depressing it makes you think what’s the point of attending festivals or concerts (sorry, I’m not interested in drunk people or posers, just in music). And it’s even more depressing if you consider Polly Jean Harvey is one of the most incredible artists a concertgoer can see live. Goosebumps and wonder, goosebumps and wonder, what a show she put at Heineken! Surrounded by an incredible cast, the amount of mesmerizing moments was just unbeatable. The funereal march introducing 'Chain of Keys'. The otherworldly 'When Under Ether'. Or how 'Down by the Water/To Bring You My Love' became one haunting somber number. PJ is in a league of her own, adding real substance and real attitude to pop.

PJ, stories from the (real) world. Photo: Bloodbuzzed

8. Espíritusanto (BIS Festival, Espai Jove Les Basses, April 9th)
A truly stunning album ‘Algo nos va a pasar’ released by our friends at Discos de Kirlian. An incontestable live show, founded in the power of keyboards as thunderous as the percussion and, of course, in the vocal dialogues between Andrés Federico and Eli Maqueda. A couple of singers able to channel these emotional heartbreaks in overwhelming choruses, such as ‘Poligono Industrial’, ‘Flores de Bach’, or the epic and frenzied ‘Nadar a croll II’ and ‘La distancia sobrante’. Vine (at last in Barcelona), vidi, vinci. Kings of the BIS Festival.

Ready for another striking chorus? Photo: Bloodbuzzed

7. Tindersticks (Guitar Festival, Auditori, April 14th)

It has been a year heavy on “first times” seeing “major bands” (always a relative, personal concept) live. Like Tindersticks, in Barcelona to present LP ‘The waiting room’. What was I expecting from the Nottingham lads? Exactly what they offered at Auditori. That soundtrack for movies-yet-to-be-filmed. That clash between contempt and drama. Tension and space. That perfection in sound. That smoky, drowned nostalgia. And Stuart Staples’ voice. THAT voice. Since the opener ‘Second chance man’ kidnapped by that baritone voice. By the keyboards of David Boulter or the bass lines of Dan McKinna. And by tunes like ‘Sleepy song’, ‘Medicine’, ‘Boobar come back to me’, ‘We are dreamers!’, ‘My oblivion’ (oh my, oh my) or ‘Sometimes it hurts’. That medicine it works inside of you/ In your head/ In your dreams / In your dreams. The medicine we want...

Tindersticks, heartache surgeons. Photo: Bloodbuzzed

6. Robert Forster (La [2] Apolo, January 14h & Primavera Sound Festival, June 4th)

A bit of a trick here, as this is not a gig but two. But we are talking about Mr. Robert Forster so his inclusion on the list was a no-brainer for this blogger. More so considering I had never seen him live before. And despite both experiences were sort of incomplete, together blended majestically, as the maestro deserves. First, at La [2] de Apolo, enjoying his solo, acoustic show, where he proved he is a true showman, goofing himself with his “rock star” poses, asking for a coffee at the bar… while delivering the excellent ‘Songs to play’, with gems like ‘Let me imagine you’ or ‘Love Myself (and I always have)’, along with immortal classics as ‘Head full of steam’, ‘Part company’, ‘Love is a sign’ (hit) or ‘He lives my life’ (sunk). But we missed some of the brilliance of his compositions without the instrumental arrangements or Karen Bauler’s vocals. Luckily, there was a second chance awaiting at CCCB. One with full band, including Karen and her violin. The set was too short to consider it a proper gig, but what a pleasure every single minute it was. 2 for 1 of Robert Forster? Isn’t that the real deal?

With Mr. Foster and Co. heads full of pop. Photo: Bloodbuzzed

5. The New Raemon (Sala Apolo, January 29th)

More than a regular gig due to the format and length, two hours & thirty-three songs revisiting his career to date with a full, impeccable band. And because the special company coming from quite far. The occasion deserved. A chance, courtesy of Ramon Rodríguez, to join him in a trip to the (recent) past to celebrate the present and look into the future. Precisely, the night kicked in with latest "icebreaker trilogy" ‘Una historia real’, ‘Oh, Rompehielos’ and ‘Reina del Amazonas’, setting the festive tone of an event with a tone of remarkable moments. Like combining ‘El Refugio de Superman’ with ‘Estupendamente’. Or ‘La cafetera’ with ‘Sucedáneos’. Or knocking us out with ‘Hundir la flota’, ‘Variables’, ‘Risas enlatadas’ in a row, leaving us emotionally messy but with an ear-to-ear smile on the face. ‘Desencuentros’, ‘Fuera complejos’, ‘El fin del imperio’, ‘Te debo un baile’, guest stars like McEnroe’s Ricardo Lezón’, and, needless to say, the end with ‘Tú, Garfunkel’. Hymns for screwed romantics.

The New Raemon, our favourite icebreaker captain. Photo: Bloodbuzzed

4. The Posies (Sala Razzmatazz, April 21rst) And another first time seeing a loved band. And a very special one, as I had the chance of, together with other media, meeting Ken Stringfellow and Jon Auer in advance of the gig, chatting with them while we were discovering their flamboyant new record ‘Solid States’. An incredibly nice experience (made the right choice wearing my old, highly recognisable R.E.M. t-shirt) thanks to Scanner FM. And a cool way to warm-up and be prepared with what was about to happen at Razz. A relentless power-pop attack for two generous hours, full of electricity and passion, combining stunning new pieces like ‘We R Power’, ‘Squirrel vs Snake’ and ‘Unlikely Places’, their experimental side (check ‘The Plague’), alongside the unstoppable hits like ‘Dream All Day’, ‘Solar Sister’ or ‘Flavor of The Month’. Plus a heartbreaking rendition of Charlie Bell’s ‘I am the Cosmos’. The complete, knock-out Posies experience.

The Posies, making you dream all night. Photo: Bloodbuzzed

3. Minor Victories (Primavera Club Festival, October 22nd)
It was the “big name” of this year’s Primavera Club. And Minor Victories didn’t disappoint. First, thanks to a gigantic Stuart Braithwaite (Mogwai) at the guitar, blowing out our heads and ears to the ones that, like us, were located at the first rows (such a heavenly way to die) making the impossible: that the Rachel Goswell (Slowdive) hooligan in me got hooked by the irrepressible strength of the veteran musician, perfectly seconded by the muscular bass of Justin Lockley (Editors) and the shuddering drums of his brother James. But Rachel, that initially seemed to be on the verge of getting buried within the dense wall of sound of the instrumental trio, still had a lot to say. Like the epic fragility of the colossal ‘Breaking My Light’, the incandescency of ‘Folk Arp’ and ‘Higher Hopes’. And, of course the pop gem that is ‘Scattered Ashes (Song For Richard)’. Almost an hour happily lost in space…

Rachel Goswell, brekaing the lights. Photo: Bloodbuzzed

2. Whitney (Primavera Club, October 23rd)A highly enjoyable album crowned by a perfect tune named ‘No Woman’. It seemed like an easy, reliable bet, but far from being a must-see of the Festival. Until the bubbly Julien Ehrlich started singing with his high-pitched falsetto while commanding the drums and the guitar of Max Kakacek began drawing indelible melodies. And then, the miracle. A band in a state of grace, making every single tune bigger, prettier, fuller, dreamier than the album versions. Like The Band unabashedly embracing soul music —the «good old one»— and only playing at dawn. Vocal harmonies, keyboard, a fundamental trumpet, everything falling in its right place. Romantic without a sugar overdose. Joyful without being silly or part of a beer advertising campaign. Melancholic without selling the drama. The connection with the audience was immediate and the gig offered so many instants to highlight. Like the delicacy of ‘Light Upon the Lake’, the euphoric version of Dylan’s ‘Tonight I’ll Stay With You’, the end of ‘Follow’, the almost danceable ’No Matter Where We Go’. And of course, ‘No Woman’, with a reprise and a trumpet solo that should last forever. We have them back in Barcelona in June, so see you there.

Whitney, light upon the Primavera Club. Photo: Bloodbuzzed 

1. The Chills (Primavera Sound Festival, June 4th)
Who would have guessed I was going to see The Chills live, one of my all-time favourite bands, twice in a three years span? And who would have guessed that the second time, after all the special excitement of the “first time” was gone, it was going to be an even better experience than the gig at the indispensable Indietracks. That’s what happened at Ray-Ban stage. It could be the hour, late afternoon, when Primavera Sound is getting crowded but you can still breath. Or the scenario (the coolest one), specially when the sun starts to come down. Or that this humble fan, impatiently awaiting at the very centre of the first row, knew the lyrics and loved all the tunes of latest LP ‘Silver Bullets’. Or, most probably, because Martin Phillips and Co. just nailed it, making the newest pieces shine alongside with the expected “classics”. An hypnosis session with our eyes (and ears) wide open, with too many moments to treasure: 'Underwater Wasteland', 'America Says Hello', 'Pink Frost' for sure, ‘Heavenly Pop Hit’, where my throat said enough for the rest of the Festival and, in particular, 'Doledrums', as glorious as I ever dreamt of. Best show of the year. Here’s hoping I’ll be able to see them at least a third time soon. Perhaps in a smaller venue for a much longer gig?

Warm, mighty pop waweforms with The Chills. Photo: Bloodbuzzed

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