The quartet Violeta vil’s atmospheric electro punk was in charge of getting the land ready for the festival of imminent guitar action and visual distortion that was approaching.
Supporting their set list, mainly in their recent Mujeres ulaga, they proved good extensions and did not stop enjoying it, especially their frontwoman, in their own attitudinal mosh pit with songs such as Chupacabras and Urgencias primitivas.
Their drummer, flanked by a hardworking bassist and a devoted guitarist, came undone completely and little after the gig has started he stood up, a position he would not quit until the final chord and which gave evidence of the plausible vibes of the band.
Exactly a year after their performance at El sol and after the obligatory finishing touches, and following a sweet and tense darkness, Los Punsetes appeared little by little on the boards at the Joy. All of them except for Ariadna, who made her glorious appearance when Jorge, Manu, Chema and Luis were already ready to start kicking ass. Ahead of them, a collection of timeless anthems, 25 great songs to dilate and expand an unforgettable sonic adventure granted by a band whose best time is still the present time.
Leaving more than one of us open-mouthed they started their show with Nit de l´Albà, a great enlivening hymn which I personally consider is the best song of the past music-loving year. Thus, from minute one they were perking all of their virtues and instruments up, proving they still are one of the best independent bands of our national history. After such enormous song the first cut would arrive, selected for the occasion from LP IV, Bonzo, one more song to keep us on fire and that would be masterfully linked to the mountain hit Alférez provisional. The following hat trick, started by 155 and rounded off by Tráfico de órganos de iglesia would still remind us of their beautiful 2012 work.
A first part throughout their four albums where people would progressively be immersed in its subversion and distortion by means of perfect songs such as Los cervatillos, Fondo de armario, Dinero (during which the karaoke following started to become obvious) or Pinta de tarao, wrapping it up with Malas tierras, a crescent beauty to let yourself be swayed.
The encore would begin with a new Ariadna look, who dressed in sort of a Mother Nature’s retro-immaculate bride moved on to a postmodern super heroine dress and after a “Buenas noches Madrid” (Good Night Madrid), burst into Los últimos días de Sodoma, hooking the public again until its last pedaling.
From there, the final stages of the show would come riddled with their best ingredients and volume so that it would not stop growing and to end up making us all liven up: John Cage, Arsenal de excusas, Tu opinión de mierda.
Among all of that, the touching moment par excellence came. With the battering ram Amanece más temprano, their wonderful visuals paid tribute to the great Gonzalo, their irreverent and legendary calé bass player, who was replaced by the multi-talented Luis who having experience with Los claveles, Juventud juché and Cosmen Adelaida, displayed skill and presence as if he had been playing with the ensemble for a very long time.
During the final firecrackers, the lethal trident Dos policías-Maricas-Tus amigos would stand out to later close with the recent and damn catchy anthem (one more for the sack) Me gusta que me pegues, moment of the journey at which all of the attendees were already beyond influenced, before the bad news of the day: it would not last much longer, as happens with every great band.
It is not a cliché, as the Nikis were back in the day [here’s a stalwart of the band from Algete], Los Punsetes never cause you to grow weary of their music, that is how it is. They are bloody thousands of bloody miles away from strafing with concerts (in Madrid, their home). That, and how good they are, are the reasons why you have to make the most of the few doses they offer us to keep having sonic orgasms with a cult band that people love more and more every day.