Tag Archives: Apolo


I think perfect days are kind of utopia, although I must admit there are certain days everything flows so smooth and in such a good vibe, perfection seems to be round the corner. Last Sunday was one of those days. It was wonderful.

I woke up quite early considering I had gone to sleep at 5am after my Company Xmas dinner party (also a very funny event). Luckily there was no trace of hangover, and I remark luckily because I had a very important task to do which required some effort and focus. I had been so busy last days I hadn’t had enough time to get the interview well prepared since Thursday evening when I was confirmed I had an appointment with Neko Case on Sunday afternoon before her show at Apolo.


I had also scheduled a meeting with my friend Jaume for vermouth at 2pm, but perhaps due to pressure and excitement, I had to cancel our date because I was experiencing one of these block moments and a bit of panic thinking I was going to fail. You know, I had the same feeling as when I used to have exams. As soon as I cancelled the pressure was gone and settled the questions for the interview in less than an hour.

Why was I so nervous? Neko was my first face-to-face interview victim, and she’s a woman I respect and admire not only in the musical sense but also for her personal side. I’d never done that before, I had to buy a voice recorder at the last minute and I wanted to submit intelligent and interesting questions. I’ve realized being a fan is good on one hand because it helps to know the artist better identifying the kind of questions to be asked, and also because in terms of research you already know part of the info and/or know what to look for. On the other hand being a fan means that you got an added silent pressure which consists of staying cool in front of that person you admire so much, ask the right questions and behave in a way that person feels comfortable enough as to reply all the questions in detail.

I met her at 5pm as arranged and first thing that surprised me was how tall and thin she was, and how expressive was gesturing and putting faces. Because the band was starting the sound check, Neko wanted to find a quiet place for the interview, but didn’t like the dressing room much appropriated nor comfortable, so we ended in the roof of Apolo, open air, during sunset, with our coats on making confessions to each other. She was relaxed, not in a hurry, and there was nobody near, so we weren’t bothered at all.


During some parts of our conversation I felt so identified with her you couldn’t believe it. at the end of the day we belong to different countries and environments, but we are both women, music passionate, and she’s only 6 years older than me. There was a point I ended the interview because I could be talking to her for hours. It was wonderful to know the personal side of the artist you’ve been following for so long time and realize she’s a human being you enjoys, suffers, struggles and moves on in the same way as you can do.  When we said goodbye, Neko gave me a tender hug, thanked me for my thoughtful questions and congratulated me for my first interview. I was thrilled and moved. For real.

The show was so wonderful. The double melodies share with Kelly Hogan, the band, her voice, the lyrics…all the people I knew who attended the show were as delighted as I was, and the only complaint, if we had to complain, would be that we needed an extra half an hour more. Leaving that aside, listening to ‘This Tornado Loves You’, ‘Hold On’, ‘Man’ or ‘Calling Cards’  was something magic. I loved the girly chat on stage between Neko and Kelly, and their complicity. Wonderful!

After the show my friend Joaquin and I met a very nice girl who had just come from Bristol on her own to attend the show. I hope she eventually stops by and we can keep in touch. It’s great to know people as passionate with music as me, which are capable of taking a flight for staying in a city for 20 hours just to attend a show.


Thus Sunday was the Neko Sunday, with the brainstorming to prepare the interview, half an hour talking to her, and to close the circle the beautiful show. It wasn’t 100% perfect, but when I went to sleep I did it with a big smile in my face, invaded by a wave of happiness.


Few weeks ago, Arturo, one of my gig partners in crime I knew thanks to a music forum I regularly visit, told me had a spare ticket for the live show Calexico was offering in November. He had purchased the ticket right after they were available, however he received another ticket for as a birthday present. Instead of putting it for sale and acquainted with my musical tastes, he thought it was a good idea to invite me to the show, a very promising one, convinced I’d likely enjoyed it.

To be honest I had never listened to any single chord of this band till Arturo confirmed the ticket was mine unless I was horrified by their music. Facing such offer I felt immediately pushed to listen to Calexico, and the opening record to start with them was Algiers, their last album, released in September.

It took me half a song to realize Calexico was thousands of miles far from what I expected. I don’t know, I misjudged for their name and thought they were kind of Oi! Reggae ska , or something like that. Guess I mistook them for a band named Dr Calypso. I know…sometimes I think I live in a different planet.

Well, as I was telling, when I started hearing Epic, a super suggestive and atmospheric song, I knew Calexico was something classy and special. In fact, the first word I have in mind when trying to define the band’s style is elegance, and then I’d add their music is a combinations of different sounds, moving from Americana-folkie  to Mexican-border mariachi stuff. Guess my definition is not very helpful to define their style, so you should listen songs such as Puerto or No Te Vayas to undertand what I mean. Brass arrangements and the mighty percussions, adorned with shakers, maracas, in a very old school fashion. Beautiful!

Algiers moves through intense and  relaxing stages, more emotional, as Para or Fortune Teller, more easy going as Algiers or Splitter.  Vocals are carefully taken care of, showing beautiful melodies, supported by work on every single detail. Drums, bass, guitars, trumpets, accordions, lap steels… the amount of instruments used to achieve sound perfection is overwhelming. The work behind this album has been a very dedicated one, no doubt.

Considering some parts are under a strong Latin influence, which I’m not very acquainted with, and usually not interested in, the general impression is that Algiers is probably one of the best albums released this year. PERIOD.

I was so impressed Algiers became the album of the week, as in preparation of what was to come on Sunday.

After Saturday off, meaning free of any scheduled show, I spent writing, baking cookies and chilling out, having rested from this intense week, I was in the mood for enjoying some music for my senses. You know, a show you’re delighted by the music, and admiring the performance on stage, the way the musicians were displayed, they changed instruments, from the point of view of a person who is barely acquainted with the band. I just knew Algiers was fantastic, however I wasn’t too much sure of what was going to happen.

We were 5 of the rock troop eventually, Elena and I were the rookies, while the other three guys were every enthusiastic for seeing this band.

We had been told Apolo theatre was sold out the night The Gaslight Anthem played, however, the audience outnumbered, and the venue was packed. Probably more tickets were on sale, because it was the kind of show bookers know people are not to jump, stage dive, nor get crazy. I thing average age was 40, with people in their 50s and some proud dads with their older children.

The show was very interesting. Epic, the opening song of Algiers, was also chosen for a perfect start. The set list included some tracks of their new album, such as Para, Splitter or Puerto, and there were several in which the Spanish singer Amparo (Amparanoia), who I can’t stand much, was accompanying with some relevant moments. Her voice is powerful and matches perfectly all this Latin sound Calexico is trying to provide their songs with, however as an artist on stage, I loathed her. I know I’m tough. She made a good job, but in my opinion, seeking for extra attention, very noticeable and forced.

 One of the nice suprises they give me was they covered Love’s song Alone Again Or. Been ages since I don’t listen to Forever Changes, and brought me back tons of memories from my teenage days.

With encores, the progression and consequently extension of certain songs, the show lasted almost 2 hours, with all the audience, me included, enthusiastic.

Attending this Calexico show made me think of me becoming more and more open minded, and digesting certain sounds in a very positive manner, something I wouldn’t have thought of 5 years ago. Thus, guess I’m growing up, not only in age and size, but also musically speaking, and have to say I’m proud of it. On the other hand, finishing this last crazy week attending such show made me really happy.

Damn, it was a great week, and I’ve managed to survive.

** Thanks a lot, Arturo. I Owe U


Last Thursday was a rough day. Euphoria and fun from the previous night turn into massive hangover, which made it difficult to endure at work, but I’m a pro, and finally managed to recover. I must admit a warm shower at lunch time also helped, and as the day was advancing, the excitement of the upcoming evening was getting noticeable.

Again, the rock troop was gathering at the meeting point for the pre-show beers, and everybody looked as motivated as I was. Yeah, we all were in the mood.

We had heard some rumors about Apolo theatre sold out. If that was the case, tickets were quite limited. Truth is that the venue was packed, much more than the night before. It was a nice surprise to discover that, apart from people in their 20s, older generations’ presence was remarkable. Probably this fact is one of the things I like most of The Gaslight Anthem: their sound is young, their lyrics are more adult oriented, and the influences for the band are classic artists and bands we’ve also been growing up with.

Mae was the atmospheric intro which led to the overwhelming first part of the show: The ’59 Sound, Handwritten, Old White Lincoln and “45”. The audience was insane almost levitating in happiness. We all thought this was going to be an epic set based on hits.

Unfortunately the setlist became irregular right after Here Comes  My Man. The fact that Fallon was quite talkative, interacting with the audience, unfortunately contributed to more empty spaces with radical change in rhythm and  people seemed to be quite confused at some point, and even distracted. I don’t know, they focused on mellower tunes very early when we were all demanding hits and energy I guess.

The band recovered the pulse as they were getting closer to the end, and The Backseat, the song that closes The ’59 Sound, was also chosen for finishing the core of the show, before the encore, which was demolishing, with She Loves You, Mulholland Drive, 1930, American Slang and Great Expectations. This time the band covered Bob Dylan’s Changing of the Guards, which didn’t get me crazy as in the previous show in 2011, when they played State of Love and Trust.

If I had to rate the show, it’d be 7,5-8/10. This could have been a memorable show, because the band is at its best, they’ve found their sound, much more solid this time, and although I don’t think the extra guitarist’s contribution is quite remarkable, the truth is that with his support, Brian Fallon looks more comfortable and can focus on the vocals more properly. The members of the band, however, are overshadowed by their frontman, who takes control and provides the band with the charisma the other members seem to lack of, or perhaps aren’t interested in putting up front. It’s a pity American Slang’s presence was reduced to almost nothing, because, even though I don’t think it’s their best, includes many great worthy hits. Finally, the creation of the set list and the order of songs arranged was their biggest mistake. The distribution of tempos and rhythms was irregular and as explained, left a bitter taste in all of us.

Witnessing their increasing popularity and the path they’re advancing by, I’m sure next time they visit us, the venues they’ll be playing at will be bigger and colder, because right now they’re one step behind the mainstream. I’m glad about them, not so much for me as a fan, but have to admit, when being surrounded by youngsters I felt relieved thinking part of the new generations will keep rock alive when I can’t do it anymore.

The show wasn’t perfect, I wasn’t looking for perfection anyway, I just wanted to have fun, yell songs as if I was a teenager, and sharing these moments with my friends, and that’s exactly what I did. I know eventually I’ll attend one of their shows in the future and will feel overwhelmed, because I can feel they’re actually evolving and improving, and hell, they got a bunch of anthems many would sell their souls for having them.

Thus I can say that In The Gaslight Anthem I Trust regardless, with the strong belief that this tiny turning click of the engine to take them to the top is about to happen.

If you feel curious and have time for more videos, I strongly recommend you to visit my friend rocknrollmfs Youtube channel, his stuff is terrific.



It was half year ago when Blind Melon tour dates calling Spanish cities were confirmed. I didn’t stop and think twice and purchased the ticket as soon as they were available thinking of the possibility of being sold quickly out after the amazing and emotive show many of us lived at Azkena Rock Festival in 2008.

Unfortunately I was wrong. I didn’t have in mind on one hand that we’re not in the 1990’s anymore and many of their former fans are in many cases pater familiae or just forgot about their rock past, and on the other that people get very passionate in festivals, but in real life with just one time in their music curriculum is enough of the experience, and considering the wide offer of shows in Barcelona this month, the economy tightness affecting everybody and many other circumstances, Apolo theatre was at barely 2/3 of its capacity. Pity!

I have to admit I almost sold my ticket, fearing this show wouldn’t be as special as the previous one, and because wasn’t ready for disappointment of any sort coming from a band I’ve loved so much. I told you in my previous post that I was more excited for seeing Abandon Jalopy, and this was the main reason, FEAR. I had a buyer already and almost sold it, also for the money to allow me to buy another ticket for another show, but at the end of the day someone convinced me not to make such a terrible mistake I’d probably would regret for the rest of my life.

The previous night I had attended Jim Wilson’s and mighty Dan Baird’s show after being invited by Manny, their European tour manager. It was completely unexpected and I really enjoyed the show, especially Baird’s. My soul brother Gonzalo is a diehard fan and I just had seen Baird with The Georgia Satellites many years ago, and his solo project also long ago, thus it was a great surprise and I loved the performance from top to bottom. Very powerful show, pure rock and balls.

After the show I was having a beer and something to eat at our meeting point, a bar named Can Eusebio, which has Budweiser and bravas (Spanish potatoes in mayo and spicy sauce) on special offer. Jonny Kaplan, Brad Smith and Kevin Haaland were having tapas like craze, and both Jonny and Brad stood up to greet me and they introduced me to Chris (Thorn!). They told me about their day off, changing hotels and taking it easy before the Big Night.

As I’ve always been a bit cheeky, in a good sense, and was a great opportunity, I threw this question to Brad: What were we to expect from Blind Melon on Wednesday?

The answer was that we wouldn’t get disappointed, and they had decided an hour and fifteen-twenty minutes set. “Make it one thirty”, I said, making him laugh. It was going to make us enjoy and travel back in time, thus I read For My Friends album wasn’t to be much present.

Wednesday arrived and I was nervous anyway, very optimistic after my chat with Brad. I knew for sure i was going to enjoy, still I was afraid to lose the emotion I experienced years back. Nah! Unnecessary worries which diminish thanks to Jonny Kaplan’s songs during his opening act. The rhythm, the set list, the vibe, the attitude of Blind Melon and the atmosphere were perfect, surrounded by the regular troop I’m usually joining for the shows, I couldn’t ask for more.

The band chose Soup’s 2 X 4 to open the night, however the set list was mostly based on their debut album, Blind Melon including 9 songs, from Change and Sleepy House, to Soak The Sin, No Rain or Paper Scratcher. The absence of songs from Nico, with only Soup, and For My Friends, was balanced with 6 songs from Soup. Mouthful of Cavities really gave me the creeps, Skinned sounded awesome, and closing the show with Galaxie, in my humble opinion, was the best decision ever. It’s great to see the band supports Brad Smith’s project, who invited his pal Kevin to come up on stage to play the beautiful I Won’t Be The Same as the first encore song. I have to say this songs really moves me, and I can’t keep it out of my head these days. I’d say it’s in my top #3 singles of the year. Honest.

I don’t have many complaints about Travis Warren’s performance even though I must admit I tried to avoid looking at him. Sorry but I can’t. I know it has to be way too hard to stand overshadowed by Shannon Hoon’s eternal presence, and due to the general not so enthusiastic response of people to For My Friends, he had this, we could say, emotional outburst, which led him to leave the band some years ago. I can understand what he did in some way, but Hey! He knew the story of Blind Melon, he’s the personification of Hoon from voice and  melodic style to tattoos in his body, so justification for his actions is not acceptable. Probably this has to do with the feeling I’ve had, reading many comments posted these days in different sites and forums, killed the possibility of the band going on with Blind Melon and record more albums. Hope I’m mistaken, but apart from nostalgic tours, I can’t see further actions. And I don’t blame them. In fact, I’m very proud and excited with Abandon Jalopy, and as I’ve heard, there are already many tracks ready for a second album. Crossing my fingers wishing to have it delivered to my Hellhouse really soon.

Anyway, after a perfect show with souvenir included (Thorn‘s pick), the night went on to be perfect in booze and fun, and to take it to the top, I crossed Brad, Chris and Kevin on my way home, so I could thanks them for coming, congratulate them for the incredible show they offered, and warmly wish them the best in the most appropriate manner…with the feeling of saying goodbye to good friends.

These 3 days with the Melons around have been unforgettable. I could get used to have them around in the city as neighbors. How cool would that be, huh?

Thank you guys! Come back soon!


Last time I saw The Jayhawks on stage, was in 2009, at Primavera Sound Festival, right before Neil Young. It was a good show, but with this band, it’s never enough, shows always end with the feeling of missing too much stuff.  Although I haven’t listened to  Mockingbird Time much, because I don’t really connect to it, this wasn’t enough to miss a show, thus when the Spanish tour dates were announced. I got my ticket right away.

Yesterday breaking news shocked us, just the very same day they were starting this mini tour. Gary Louris admitted not having future plans for The Jayhawks. He sounded tired, and it was easy reading between lines that he admitted boundaries to his vocal mate, Mark Olson, no longer existed, and all the magic was gone. From the same interview you could distinguish a confession of Mockingbird Time to be a failure, with unfulfilled expectations. They have changed, their vibe didn’t flow, and nothing could return to the way it used to be.

After reading this pessimistic confession, it was hard to keep up the good spirits. It was a rough day for me too, as I had been advised my candidature for a job position in Madrid had been dismissed due to a cancellation in the recruiting process, but I was determined to have a good day, and enjoy the show regardless.

Many acquaintances from a music themed forum I regularly participate at, gathered at a bar to have the pre-show beer. Everybody was commenting on Louris’ statements, and even though expectations weren’t unreal and too high, we all thought the show was to be fine.

Punctuality was more than perfect, and the guys from Minneapolis opened with wonderful Wichita. Apolo is one of my favorite venues together. It used to be a proper music hall, and fortunately it’ very comfortable for the audience. You can see the stage from any corner and sound quality is quite decent. On this regard, this was something which couldn’t fail, The Jayhawks always sound neat and perfect, and yesterday was no exception.

They played around 5 songs of their new album, which, with all due respect, broke the rhythm of the show. We’re not talking about Megadeth, ok, but The Jayhawks, at this time, know exactly what their loyal Spanish fans want, thus, playing their new stuff they’re not even enthusiastic about, it’s like a waste of energy and time, and the risk of missing the audience attention easily, which happened too.

This didn’t happen when they played Two Angels, Take Me With You, Settled Down Like Rain, Blue or I’d Run Away. Those are the classic moments I wanna fall in love with someone and live happy ever after. Tears run down my cheeks with Rainy Day Music’s Angelyne, as this album is related to a season in my life I was falling in love, it was a very emotional moment, and yes, I’m too sensitive sometimes.

Thus, the setlist wasn’t that bad considering they completely dismissed some albums, sound was immaculate, but what was happening on stage was the confirmation of Louris’ statements. I’m 98% positive we’re not seeing this band all together on stage any more. Two perfect matching voices creating the most beautiful harmonies you can imagine are not enough to make Olson and Louris stand and endure each other any longer. Communication was non existent, they didn’t look at each other, Louris was hidden behind his dark glasses and his harp stand, Olson was smiling and laughing as if he was among friends in a barbecue party, but when addressing to the audience and starting the songs, you had this feeling of something not going well. They barely looked at each other, Olson was making jokes with the bass player while Louris was singing… a bit tense, really.

There was a moment Olson had to sing without the guitar, and the stamp was terrible. It was as if your drunken uncle was stealing the mic to sing a couple of shitty songs, demanding the audience attention. Very very sad.

Anyway, though I enjoyed the show, the band looked tired and old and the magic was gone, as advanced by Louris himself. They were professional enough as to deliver, but yeah, I had the feeling it was the last time, and now it’s time to look forward to see what Louris and Olson are capable of doing separated, because talent is something that remains after all.

It wasn’t a bad farewell. The Jayhawks, so long!


Lately I’m noticing memory issues regarding live shows. I’m talking serious. Some bands I reckoned never seen on stage I had actually seen them. I’m a bit worried, and find quite wise my decision to write down in my year organizers gigs I’m attending for the last 2-3 years. In fact I’m thinking of starting albums to gather and keep all gig tickets because I’m a mess.

I was 200% convinced I had never seen Mark Lanegan on stage, till yesterday, when a friend remarked his performance at a festival I attended in 2004. I saw the show for sure, and don’t think I was in super bad condition as in other occasions, but guess Lanegan’s show didn’t impress me that much because I can’t remember anything. I’ve read some comments on that show and seems it wasn’t a great one. It was also the year Ryan Adams dug his own grave (in Spain)offering a shitty performance too.

Let’s stick to the point. Yes, Blues Funeral, Lanegan’s last work irresistibly charmed me at the first listening as you already know, thus, when tour dates were announced including Barcelona, I didn’t put my attendance into question, as soon as tickets were available bought mine.  Barcelona finally failed to sell out, but I didn’t want to take risks this time.

I met a friend by 8pm for the pre-show beers. Apolo surroundings were quite lively, with many people in good mood to see  the Static Man. When we got in the venue, it wasn’t sold out, nor uncomfortably  packed, yet quite full. Beer in hand, we went straight to one of the sides, half level over  the guitar tech. I really love see these people in action, tuning guitars, choosing which one comes next, and exchanging them with musicians in no time.

9.15pm, Lanegan and the band turn up on stage, no hello nor good night, quickly as soon as everyone is set Gravedigger’s Song starts. It was like the starting ritual is cut down to nothing to go straight to the point. Believe me I was shocked.

Perhaps not only due to the lack of opening ritual, but also the low volume both instruments and voice set, made me feel uneasy in the beginning. It was ridiculous, as if they were playing in the room next door, or at same level as an accompaniment band at a restaurant, you could even understand conversations around.

First part of the set was marked by songs belonging to Bubblegum and Field Songs album, creating an intimate atmospheric atmosphere, or at least trying, because the volume issue was painful to endure. One Way Street and Resurrection Song played in the beginning were part of a risky choice, quite enjoyable though.

With Gray Goes Black, there was a turning point in all senses. On one hand, the sound of the band increased, not so much the singer’s unfortunately, the setlist revisited Blues Funeral properly, although unfortunately Bleeding Muddy Water wasn’t included, and the rhythm and vibe changed totally. Thus, an impressive Quiver Syndrome, Riot in My House, St. Louis Elegy were winning the audience.

The band wasn’t super remarkable, they accomplished their task correctly, but enjoyed the electronic and keyboard  arrangements and the combination with drums in songs like Ode to Sad Disco. Their appearance was quite discreet, but the lead guitar, whose resemblance to the man in black, Johnny Cash, highlighted by his outfit, was stunning.

The 3-song encore was fantastic, with Pendulum, Harborview Hospital and Methamphetamine Blues, concluding a set close to 90 minutes, which of course, left the audience willing for more, however, absolutely nobody yelled demanding for more. Sense of respect perhaps? Weird and curious all the same.

I can’t say about Lanegan’s feelings towards the audience. He thanked sometimes, something apparently quite extraordinary, and exchanged some words hardly to understand, but seemed thankful. I didn’t notice any negative issues regarding his voice, but the opposite, and considering he’s one of the most static frontmen ever, someone said, in his gargoyle like pose, his performance and attitude were intense.

A really nice and meaningful gesture of Mark Lanegan right after the show, agreed and advised in advance, was to sign up merchandising and other stuff to fans. I was purchasing a couple of things when he arrived so I was the first one to say hello and congratulate him for the show, with a thanks and a smile in return, before I queued for having several items marked by his personal stamp. Yes, I exchanged words with him twice…hehehe! There’s a pic as a proof I’ll post as soon as I get it, I swear.

Thus, my real second Lanegan experience, leaving all the sound issues aside, was a positive one. It’s great to see a guy, quite in shape, having manage to overcome his addictions and personal Hell on Earth, with his attitude, charm and voice untouched.

Long Live Mark Lanegan! Hats Off!

(*) Deep Black Vanishing Train was left OUT


When thinking of the show a tough sentence I heard not so long comes to my mind: what attracts you in the beginning, will disgust you in the end.

Too hard statement, but somehow it can reflect the contradictory feelings I got from Danko Jones’ show last night.

It had been 3 years since I hadn’t see Mr. Horchata on stage, at Azkena Rock Festival.

His, used to be reckless and powerful shows, full of energy and aggressiveness. 40 minute sets, putting audience on their knees. He was the guy opening for bands, which ended up being the real hero of the night.

It’s not that the Mango Kid is not aggressive anymore, but seems unsuitable for headlining accomplishing a performance of more than an hour without breaking the rhythm of the gig every two songs to make jokes and chat with people, repeating same speeches once and once again. Thus, you don’t feel totally involved in the gig, and end up thinking “shut up and play once and for all”. Believe me if I tell you some people yelled him to keep on playing. It happened.

Stops were killing the show. Even you could notice the audience eventually getting distracted, tired and chaos reigning at Apolo. We all started the show super excited, but many of us were thinking it should end before wasting time doing silly. It was really a pity, and I don’t feel good when saying this, but was even intolerable. There are other solutions in case you can’t accomplish a 75 minute show, as for instance, let the supporting band, The Biters, extend their show, or get another supporting band.

Another issue was the set list. It is true that mine can be a more subjective opinion, because I was more into his 3 first albums and ep’s, but considering he visited us one year ago supporting his last album, the selection of songs could be more varied. It’s like all of a sudden, those first hits were forbidden or forgotten, so we missed I Love Living in the City, Mango Kid, Sticky Situation, Love is Unkind… band’s anthems which shouldn’t have been dismissed. Instead we got Rock Shit Hot, Caramel City, Invisible, Dr. Evening, and Lovercall among others.

Style has changed lots, so has the audience, very young to my surprise. While riffs were more metal, songs were more melodic, not so rapping lyrics. The band sounded very strong and solid, and the drummer, Jeeez! He was a machine.

There were some songs introduced by other bands intros, Minus Celsius by Backyard Babies, and A Song for the Dead by QOTSA, and a too long opening medley jam with hits by Black Sabbath, Led Zeppelin and even Kiss. I was watching the show with my friend Jaume, who was getting increasingly nervous and upset. It was like, you wanna play a cover? Do it, no problem at all, but in such way, didn’t make much sense.

A cover by The Supremes, My love Is Empty Without You, to close the show after 20 minute encore of squeezing the horchata joke, was enough. I don’t think I’ll repeat another of his shows in very long time. Disappointed was my state at the end of the night.