Tag Archives: European Tour 2012


Barely 9 hours after the end of Jack White’s show in Barcelona, here I am writing my impressions while still fresh and a bit in a hurry. I’m up earlier than usual because today I’m flying to Madrid for an interview appointed tomorrow, and have to arrange some things here, thus I want to have this finished ASAP.

I already told you my gradual crush on White, which took years for me to realize I like his stuff, although I’m not a huge fan of his previous band projects, thus I wasn’t too interested in recovering The White Stripes, The Raconteurs nor The Dead Weather’s songs. I just wanted a set list based mainly on his solo album, Blunderbuss.

The venue was full of people despite the expensive ticket, and worst of all, the commission fees. With the increase of 15% VAT on culture and entertainment shows applied from September the 1st, live music is in danger as the promoters won’t assume this costs themselves but will raise the ticket admissions, and we, the fans, the consumers, will have to think more than twice how to invest our money and become more selective at the time of choosing which shows to attend. Anyway, believe me when I tell you approx 50% of attendants were from overseas, perhaps even more.

White, an eccentric genius, has always something different in hands people can talk about. This time, for this tour he’s chosen to be accompanied by two bands, one featuring male musicians, and the other, women. Because he’s Jack White, everybody is babbling with this “brilliant” idea, however there’s a polemic here on the streets about the possibility of segregated education depending on genre. Don’t worry, I’m not gonna talk about that, but seems kind of funny the levels of tolerance depending on subjects and circumstances, that’s all. What the government says is offensive, what White says is cool, and so on.

The male band supported the artist during his performance in Madrid, and in Barcelona it was turn for the girls, The Peacocks. And here I DO have something to say.

I will start saying they were very skilled musicians, although I didn’t like the style of the drummer. No need to say I didn’t like Meg White’s either. There are two kinds of female drummers: Samantha Maloney or Sandy West, and others. Carla Azar, in my opinion, played quite fine but belonged to the others. Nice, well fashiondressed, but playing rough as if to make more noise, and worst of all, touching and placing her t-shirt all the time. I might sound super impertinent, but those mannerisms are non professional. Didn’t like the way she was holding sticks and sometimes when drum rolling, it was quite mayhem.

The band sounded fine, but I didn’t think of it as brilliant. I had seen videos with the male band and they played in a different league, they sounded wicked, and their stage attitude and performance was warmer and brighter. The Peacocks are a band of attractive and skilled musicians, cold and brutally ecstatic. And this is another question. If you are cold you’re dull and distant, if you play sexy and lively, you are labeled as a slut, thus the boundaries for women performing are tough. They chose to be boring, and didn’t transmit any emotion nor passion for what they were doing. I’m sorry, White, give me a classic band and forget about being genuine.

White seemed like an autistic guy, having his own party, alien to the audience’s reaction, which is a symptom of the genius in him. Who gives a fuck ad long and he plays and is enjoying doing what he does? He was fantastic singing, playing guitar and piano, and directing the band. I liked his passion and energy, and the display of his musical eclecticism reflected in the set list.

This is the part which disappointed me most. As already mentioned, I was attending a Jack White’s show introducing Blunderbuss to the audience. I expected 70% of the songs would belong to this album, however, the set list was featured songs from his previous projects, being The White Stripes stuff the most relevant part in the show, catching all the attention from most part of the audience.

People don’t assume the end of projects and the attempt by the artists to keep on solo. It happened with Rich Robinson too. When I was in Amsterdam some people yelled at him requesting The Black Crowes songs. I find it super inappropriate and even offensive. In White’s case, he’s already proved he has more talent to give beyond The White Stripes as to focus a set list in this band’s past time, but he did it anyway, finishing the show with the new Hooligan anthem, Seven Nation Army, and people chorusing like cattle. To me it was discouraging.

Thus the show was a bit irregular, and depending on those intros which took time to get going,  the wave of energy, the climax achieved thanks to certain songs, was lost. The intensity was coming and going and audience was getting more and more distracted, with the presence of the crowd noticed over the music, which was wrong, and people seemed kinda anxious, uncomfortable.

Do not think it was a bad show, probably those WS fans were delighted. I particularly enjoyed listening to Love Interruption, Freedom at 21 and Weep Themselves to Sleep. Thus, at the end I’m not complaining, I’m just saying I wanted a bit more of solo White.


Rancid announced a show in Barcelona months ago. The inevitable question following was, are they still active? Indeed they are, since 1991, except for a hiatus in 2004, Lars Frederiksen, Tim Armstrong and Matt Freeman, have kept the punk flame alive.

I’ve never been a diehard fan, nor a follower of this band, I enjoyed Lars Frederiksen and the Bastards’ album back in the day, yet I’ve always respected them over Green Day or The Offspring. I’ve found them more real.

My soul bro Pamp and his soulmate Lee Tang confirmed their attendance right away, and I wasn’t so sure of affording it. I like them, but not so much as to pay much money for a ticket, thinking of upcoming shows I’m more interested in.

As the date came close, I decided I couldn’t make it, and the last chance of attending the show was via contests. Believe it or not, I got a free ticket thanks to submitting my punk’est picture, that one I posted here long time ago, with me laying on the stage in ecstasy watching and waving The Wildhearts. Apparently, the image was punk and cool enough as to get me a freebie, so I was delighted I could enjoy another show with Pamp and Lee Tang.

Gotta remark that, for more than 11 years of friendship with these two rascals, and especially with my soul bro, I’ve lived many epic nights of debauchery, flash trips and shows. Some day, I’ll tell you some stories related to Diamond Dogs or Gluecifer… I love these folks!

Let’s get back into Rancid. I remember in 1995, we all loved their third album, …And Out Come the Wolves,  when it was released. As already mentioned, forgetting for a while all these dark bands coming from Seattle, we used to enjoy with “happy” bands which made us jump and dance insane. You know, the already mentioned Green Day, The Offspring, Clawfinger, White Zombie, Terrorvision… We used to spend Saturday nights at a huge venue, like a garage, named Devizio, dancing and sharing liters of beer and calimocho, and we tried to get on well with waiters in order to get free shots of tequila. Crazy times!

The first open air festival I attended, was held in Móstoles. It used to last two days and there were many Spanish bands but of course the headliners were from overseas. This first Festimad, in 1996 featured RATM, Cypress Hill, Smashing Pumpkins, The Posies…and Rancid.

Despite the date in May, it was a very hot day, we were all burnt by the sun, and Rancid came out to play at 18h approx. It was daylight, people were sweating, and the show was packed. When they started there was a massive moshpit, everybody, everywere, dancing, jumping, and kicking. I had this laugh attack because at the first chord, my beer was flying, I got showered, and everything was chaos. Many people fainted, but I was ok, “fresh” thanks to wine and beer over me. Imagine thousands of kids dancing Time Bomb, Roots Radical or Ruby Soho… it was insane. Plus the impression, we were the first generation of youngsters attending to rock festivals in Spain, before this, there wasn’t any! Anyway, being showered wasn’t the only incidence that occurred to me. Schedules were terrible, we had beer for breakfast and well, while Rancid were playing, I was starving, so I decided to eat my Spanish omelet sandwich. Everything was fine in the beginning, I managed to eat the first half without any trouble, eating and dancing, don’t try this, please. But something happened that made my arm to get shorter so I wasn’t able to reach the sandwich. WTF was going on? Well, there were two arms holding mine, I was in the middle of a moshpit eating!!! The scene was hilarious and the moment was so surreal I had this laughing outburst…and focused on finishing my sandwich.

This anecdote aside, this show was so cool I kept in in my memories as one of the funniest and most enjoyable ones in my life, thus, having the possibility of attending to a show 16 years later, with my friends, was something really attractive.

Razzmatazz in summer should be christened as Hellmatazz. I don’t know was going on with this venue, but air conditioning is poor or nonexistent. Although the show wasn’t sold out, the venue was packed, people didn’t stop dancing, and it was terribly hot. So damn hot my friends, and ¾ audience took off their t-shirts looking for some kind of relief. I was wearing my tee so my friends are such basterds that were rubbing against me to get “dry”.

The audience was in a great mood, mainly in my age, by the way, the supporting bands were warming up the crowd and everybody was in the mood.

The band started at 22h sharp, and focused on hits for one hour and a half, which meant 31 songs. People were delighted, the band seemed to be sharing our same enthusiasm and the show became another massive party, with me having another laughing outburst with my friends.

Really, the band sounded powerful and very solid, and the rhythm of the show was reckless. Hit after hit, with no mercy. Absolutely insane!

I Wanna Riot, Tenderloin, Black & Blue, Fell Back Down, Lock, Step & Gone… I got the set list again, so you can check the quality and intensity of the show we witnessed.

Thus, the experience of this journey to the past was a blast. It was like getting back to my 20’s, plus being surrounded by great friends who, once the show was over and lights turn on, were hugging me in absolute happiness…it couldn’t be better!


Morning of any given Tuesday. Apparently there’s nothing outstanding related to this day, leaving some personal memories aside. Oh well, yes! I had an appointment scheduled for fixing my motorbike after one year and a half parked and forgotten. Yep, no comments.

My morning coffee has been sweetened thanks to the announcement of the availability of Handwritten, the fourth album by the guys from New Brunswick, in streaming, via NPR Music. Needless to say, my world has immediately taken a break for playing the album entirely for the first time.

I said to myself to avoid bad quality leaks belonging to bands I love. It’s a hard commitment, but sometimes I manage to accomplish it. This time this wasn’t a leak but an official premiere of the album, thus I had to give it a try.

As you can imagine it was impossible listening to it just once, and well, let’s say I haven’t played anything else today, but The ’59 Sound when pushing my poor motorbike towards the garage. TGA have made my day.

I posted the first single, 45, when it was launched. After listening endlessly, I still think it’s definitely to become one of their greatest anthems, very complete, very TGA, catchy intro, super rhythmic and intense melodies.

I’ve listened to Handwritten 5-6 times today, and once I finish writing this, I’ll forget about the album  till I receive my Deluxe copy, whose ETA is due to August the earliest, depending on shipping.

After digesting 45, I couldn’t conceal my excitement and the expectations were too great. To be honest, this uneasy feeling of considering failure as a possibility never brought out. From the very beginning, since I saw those captures at the studio, with the vintage Telecasters, the classic amps, the band attitude… I had good vibes regarding this new album. And seems that I wasn’t wrong.

Guess when you listen to a new album, your attention is unconsciously focused on the first songs, and then you get kinda relaxed. First half of Handwritten is simply brilliant. Today I can tell I’m already charmed by Handwritten, Mulholland Drive, Too Much Blood or Desire. I might change my opinion in two weeks, who knows? It’s not big deal anyway. First impressions imply excitement, happiness and certain degree of euphoria, as to distort the senses a bit, truth is that I’ve enjoyed the experience and the album has cheered me up quite much.

The Gaslight Anthem is not a band of virtuous musicians, they’re actually quite limited, and on live performances this is quite noticeable, however, quality in their compositions, the formula, their style clearly influenced by many artists I’ve already mentioned and they also admit to be inspiring, the story telling of the songs, their hardworking philosophy, and the positive energy and intensity they spread, all these features are what make the guys from New Jersey grand.

I think they’ve made it again, delivering a great album which has nothing to envy to their previous work. They found the path and easily keep the track, because they’ve already found themselves, and are aware, we, the fans, have finally found them.

Brian Fallon, Alex Rosamilia, Alex Levine and Benny Horovitz perhaps are not yet aware of having trespassed the boundaries into the level of the classic bands and he legends, and I know it’s 3.30AM and you think I’m talking nonsense and should go to sleep immediately, but I know what I mean. The Gaslight Anthem is one of the few bands which will survive the hype and if they stay tight and don’t fuck it up, they’ll be active in 15 years from now. You know the expiring products seem to dominate the world nowadays, well, these guys joined for long consumption .

Once this said, now it’s just a matter of time, on one hand to have the physical album in my hands, and on the other, wait till their next visit in November. The wait is gonna be hard.


Tonka always reminds me of my dad and the tonka bean he uses for preparing his amazing and luxurious gin tonics. There’s also this Tonka toy company featuring trucks and construction equipment. The sound of this exotic name also brings me to a tiki world.  No, none of these options can be applied to the named of this band from Springfield, Ha Ha Tonka are named after a skate park in Camdentown, Missouri. Isn’t it weeeeird? Ha ha…Tonka! 😉 Sorry guys, it’s Monday, my sense of humor is at its lowest and cheapest.

Again, I got to know this band through Viva Las Vegas podcast. I heard their first single, Usual Suspects, which also opens their last album Death of a Decade, and loved it immediately. It’s very catchy, with the mandolin arrangements. A very good starter, what do you think?

The album really made an impression on me as to include it in my top 10 2011 albums. I must admit I was not much updated on album releases last year, and didn’t include it in order to fill a list though. I still reckon it was one of the best.

The announcement of their upcoming European tour dates in Spain, specifically in Barcelona, and the happiness brought out, made me pick up this beautiful album from the shelves, and start listening to it nonstop. If I had some doubts about it, they were all finally erased once and for all.

Death of a Decade is one of these 11-track treasures, full of folk and deep America roots, very melodic and spiritual. It’s been said their music is inspired by the wisdom of the Ozarks, the American pioneers who first settled in this highlands area. Listening to Jesusita inspires me some kind of wonderful peaceful state.

The Missouri quartet are endorsed by the emblematic Bloodshot Records label, which have been working with  with relevant artists and bands such as Neko Case, Justin Townes Earle, Alejandro Escovedo, Scott H. Biram, and The Bottle Rockets, among others, which for me it means  a guarantee proof.

I was glad to read on Twitter a couple of days ago that they’re currently working on new songs, which hopefully we’ll be able to hear during these tour performances. These guys seem to be very excited for coming over, so am I, of course, and really can’t wait to see them. They’re scheduled to play at Rocksound, a very small but warm and friendly venue, in October. I’m pretty sure it’s gonna be a blast, and I insist, they’re really worth giving them a try.


Sure you’ve noticed here my growing interest in The Mars Volta, or better said, Omar Rodriguez Lopez and Cedric Bixler Zavala’s universe lately.

Little by little I’m tasting and enjoying their stuff with a positive outcome most times, so now I’m a  a bit frustrated for not having the possibility of witnessing this At The Drive-In reunion, nor The Mars Volta European tour. Fortunately  there’s was a last chance of checking some of this overwhelming genius and virtuosity on stage, as a unique Omar Rodriguez Lopez’s performance was confirmed in Barcelona for July the 11th, just one day before his presence with ATDI at FIB.

Well, I hadn’t listened to a single tune of his solo stuff, asked an expertise on this universe whether attending that show would imply the risk of ending mentally disable or affected irreversibly, and he insisted I should see him, thus there was nothing which could prevent me from going to Music Hall, and purchased two tickets, one  for Lou, half Norma Jean Magazine founder and editor, who came for the show and is staying at the Hellhouse for few days.

After some pre-show drinks with a couple of friends, we arrived to the venue, somehow surprised by the sold-out notice. Fortunately we had our tickets, but my friends couldn’t make it.

And what did we find there? The place was super packed with hipsters especially, rock and metal musical oriented guys, an outstanding musical press presence,  but also people more into electronic stuff. I talked to many acquaintances  afterwards, and those into tock loved Omar’s show, however those looking for something different enjoyed the supporting act better.

Once we made ourselves comfortable and were grabbing a beer, we took notice of the situation and what was going on. On the stage a DJ and an apparent belly dancer, and the music was as Martian as the electronic music at the closing of Primavera Sound at 6 AM. Those electronic sounds and repetitive rhythms full of syncopes and weird effects and noises, to sum up, the kind of music you perhaps could enjoy if high on something.  Eureka The Butcher, Marcel Rodriguez Lopez’s project, couldn’t be more different and further to my musical interests and tastes. It didn’t bother me, but honestly, felt completely out of place. At the end of the show, lots of people were making fun requesting for an encore.

Omar Rodriguez Lopez is just one year older than me, even though he’s got this appearance of eternal youngster. He’s a self made man, or better said, his musical career can speak for himself. Yet, seeing him on stage, the way he greeted the audience in a shy and humble way, made me think of an accessible genius, andi liked it. The way he play, this is, his physical way of playing the guitar dancing and syncopating with his whole body, from head to toe, transmitted a unique groove and good vibes.

I can’t name any single song, and there wasn’t any set list, it was a sequence of jams based on initial songs, everything so amazingly arranged, but  tied up at the same time, the musicians were in a musical journey to land on Earth at some point. Really the songs were highly atmospheric and lysergic, you just had to go with the flow. It was fascinating observing and enjoying listening, it was like abandoning yourself to the sound of music, and believe me, such experience is hard to reach.

The band was formed by Omar, amazing Deantoni Parks on drums, and Juan Alderete on bass guitar, well yes, pure The Mars Volta awesomeness on stage.

Teri Gender Bender, the singer of another side project of Omar, Le Bucherettes, currently supporting The Mars Volta on this European tour, jumped onto stage to perform a couple of songs and I think we all passed through several stages to end up surrendering to her charms and voice. A gorgeous girl, with a powerful voice, a hipster look and her mean face and monkey dances. For 30 seconds I thought she was ridiculous, on the second 31 I was delighted with her.

The trip was so intense and brilliant, Omar didn’t seem to feel like stop playing, and the crowd would have welcome more stuff, but unfortunately the organization addressed the show must come to an end, thus Omar thanked us for being there and left the stage.

Great impressions exchanged among the attendants, I personally impressed by the sound, the quality and Omar himself, and super glad of risking and opening to musical experiments and experiences.

Wish I can make it soon to see any of his projects. Viva Omar, his afro, his babyface  and his huge glasses! What a musical monster!


Early this year, there were some rumors related to Neil Young and a 2012 Summer European Tour, which were quickly silenced with the confirmation of an upcoming album, the 34th of the artist, with the collaboration of the band Crazy Horse.

This was great news for two reasons, on one hand, I’m always glad the Canadian keeps on recording, no matter the results are. I have to admit I’ve never got hooked to Le Noise, but I love Chrome Dreams II and Fork in the Road. And second, after many many years recording solo, he gathered Crazy Horse for a new album, which hopefully in the future will imply a world tour together.

After so many years Young is still capable of shocking the world with his projects, this time recovering Traditional American folk standards, songs supposedly learn from kindergarten, by emphasizing the true message of each of them, death and struggle, hidden in dark verses almost reduced to none, remaining much lighter versions of them. The painful birth of a nation everybody is aware of, but seems that it’s necessary some kind of reminder and Young decides to go on with such task.

Let’s imagine for a moment, you’re Ralph Molina, Billy Talbot or Poncho Sampedro and receive a phone call from Young, summoning you up for playing and recording after so many years, and once you’re there he explains what he’s got in mind. The picture I have in mind is these people with a huge WTF expression in their faces, but also think it’s hard to say NO to a genius, thus, the picture goes one with these musicians nodding and occupying their positions ready to play.

The truth is that they got it, they got this chemistry together, which makes that whatever they play, turns into something cool. Or at least that’s what I think. I like Americana, all these standards adapted to a style and rough sound, as if they had been written by Young himself, providing them of an entity and a genuine flavor, which is what makes Young kind of King Midas, in a good sense.

Americana’s sound is rough, inaccurate, and messy…but on the other hand, I think the lack of production and amendments with hundreds of layers, help this album to be more honest and straight to the listener. Length of songs might seem too extended, but it makes sense as to develop those so typical guitar solos of Young. It’s not a live album, yet  it reminds of one.

Let’s say, either you love Americana or you hate it, there’s no grey scale to be applied here. Probably I’m not objective anymore, that’s why I like it despite its mistakes, and rhythm fails. Now I only want Neil Young & Crazy Horse to visit Europe on tour, something that apparently will happen by the end of the year or early 2013. Can’t wait!


Last week was a rough one. I started it with a rough cold, feeling quite dazed, with heavy migraine and super low spirited, some unpleasant stuff brought out, and the typical lame attitude caused by the sickness itself. To sum up, crap. Still there were some activities which ended up improving the week, so finally it wasn’t so terrible.

I won a ticket for the show of Lee Fields & The Expressions on Tuesday. I can’t recall whether I already talked about his previous show, more or less one year ago, but I know it was worth attending despite my flu.

Considering the show had been barely advertised and was programmed on Tuesday, and also that Fields had been playing at Azkena Rock Festival 4 days earlier, the venue sold an important number of tickets. Quite a surprise.

There weren’t any supporters and the show extended to approx 75 minutes, focusing on My World and his last studio album Faithful Man. Thus we could dance with Ladies, Money is King, I Still Got It, or You’re the Kind of Girl, among others. The Expressions sounded pretty solid and Mr. Fields, aka The Little Mockingbird, seemed to be enjoying lots, interacting with people and cheering us all. at least he made me forget about my cold for a while.

June the 21st is the official date to celebrate the Fête de la Musique, or the World Music Day. Nowadays, everyday is a Day Of, which is an exhausting nonsense, yet I always self-treat with some candy, when music is commemorated.

Glad to say this year’s was a very nice day, and I was starting to feel much better and stronger. On Wednesday I had decided to repeat the Alejandro Escovedo experience, this time in electric, after the great show I enjoyed in October last year, and some attendance confirmation received from some friends, thus I had purchased the tickets and I had a plan set for the evening. Meeting some friends for pre-show beers and the gig itself. Cool.

Regarding the purchase of something musical, thanks to Xavi and Pili, the Elvis Live in Las Vegas box set was waiting for me at the best record store in town, Revolver, at an outrageous cheap price. This set is out of print nowadays, thus the cheapest you can find it is on Ebay from 70USD…I cost me less than half its  cheapest price. This purchase was what we call an EPIC WIN. You might not understand it, but I already had this box in my hands years ago, even though it wasn’t of my property it was kind of mind, and I used to love it, thus it had to be mind at be at the Hellhouse sooner or later. If you are a diehard fan of The King, this is a MUST have.

The San Antonio songwriter has recently released Big Station, and is touring Europe with his band The Sensitives these weeks, introducing his last studio album. I had barely listened to, but the confirmation of Escovedo’s performance playing in electric was attractive enough as to finally attend the show, even though only 9 months have passed since his last visit in October. I think touring so early was a mistake and not many people moved their asses to La[2] to attend the show. It was also a pity that those who were there, didn’t welcome Escovedo and his band too enthusiastically.

Escovedo commented very excited, after being told his fella Chuck Prophet had been playing at the same venue few  weeks ago, that most likely, they’d be back together next year.  Sure that show will be packed, as Prophet is quite popular here.

The artist based his set list on his last 3 albums, swopping from electric to acoustic guitar. Unfortunately one of the acoustic strings broke, and they had to alter the order of the songs a bit.

Most people agreed the previous show in acoustic had been much more intense and emotional, and guess they’re right, as I commented in the post related, the ability this guy has to transmit is very intense and has a great bunch of beautiful songs, plus lyrics, have nothing to envy to artists such as Lucinda Williams or Steve Earle, just to mention a couple. Bottom of the World, Sensitive Boys, the classic Always A Friend, or the immense San Antonio Rain come to my mind quick, and I’m having goose bumps while writing this.

Nevertheless I was happily impressed with his electric side. The show started with the decadent Sally Was A Cop, and I felt moved back to the 70’s, with a groove touch, to go on with the rockin’ Man of the World, confirming Alejandro is in perfect condition as to keep on rockin’ for long time.

It was great to see the sensitive side on one hand, followed by a punk rockin’ attitude right after. Escovedo has lived much, I’m pretty sure he could be a great story teller, and recreate the wildest NY scene in first person. Someone who used to hang out with the godfathers of punk, and nowadays is invited to share the stage with great artists such as Springsteen, and others closer to us, like Jesse Malin and D-Generation, being trated with the utmost respect, can’t be but praised.

From top to bottom, the show was net and excellent, and after recovering his classics Party People, Always a Friend or Castanets, his last encore consisted on two covers, but what covers, friends! First it was time to play Like a Hurricane and then Beast of Bourbon to end the show. What can I say? It was awesome!

Some time ago, I was judged by a person hidden behind a nickname at a music forum for interacting lots with musicians, both on and offstage. I think such issue deserves a post itself, and would love to talk about it, and my own personal experiences, mostly positive.

Anyway, when Alejandro Escovedo left the backstage to greet those who were waiting for him for signing autographs, take pictures or whatever, Elena and I went straight to him to take a picture, the two of us together so we wouldn’t bother him much. He seemed delighted with the result of the show, despite the poor attendance. The funniest thing was that, I ended up talking to him, as usual, and he nicely admitted to remember me from the previous show. it’s nice to find so easy to access artists, you can share impressions with and spend some time talking to. Perhaps it’s the same shit night afer night, but at the end of the day, as an established musician, you owe your situation to your fans, and sharing 15 minutes of the day with them it’s a bearable effort, I think.

The day of the music was actually a great celebration to me, with my new Elvis box, enjoying a wonderful show, and being surrounded by nice people, perhaps not as close as my best friends, but also devoted to music, which, as you can see, can gather people, awake feelings, and help you to deal with inner conflicts. When thinking of music and its influence in my life, a common sentence comes to mind

Let the Music Do the Talking