A night to remember | Revista independiente de música

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A night to remember

The night started with Guillermo Alba de Los Predicadores as the supporting artist. The undeniable hallmarks of this Sevillian are his warm voice and his melancholic songs with a scent of folk. The colophon of his performance was his loyal harmonica and a double anecdotic applause (for applauding before the real ending), and well-deserved.

However, the excuse for the date was the seventh anniversary, not the tenth, of A propósito de Garfunkel (2008). What does that mean? Well, an intimate, introspective and retrospective, perfect night full of humor.

Their followers came to the Sevillian venue Malandar and they crowded together around the stage to receive their prophet with open arms. As a soloist, Ramón Rodríguez started with El refugio de Superman and already from the very beginning, the attendees shouted out every song.

We could hear cuts such as La ofensa, Marathon Man, Galatea and La Cafetera. But the special moments of the event happened between songs, breaks which Ramón took advantage of and made friends with the audience with which he shared laughter. There was time for jokes, guitar changes, confessions as a musician, a father, a lover...

And the thing is that Ramón proved his experience on the boards of the stage and got the listeners in his pocket in a masterly way, and not only in terms of music. He exhibited, once more, his charismatic character, a special dude, and different. In short, a giant.

We could also hear “songs which no one likes but that, in the end, every one ends up singing”, in the words of Ramón himself. Among them, Lo bello y lo bestia, during which the audience devoted themselves and sang in unison, creating quite a special sound; a live stereo.

Towards the second part of the show and accompanied by his new bass player, Javi, he gave away some songs from his next album Oh, rompehielos. And when the auditorium already suspected the sunset of the unforgettable ceremony, he calmed the nerves himself, confessing he had kept the “rare” ones for the end, Danza epiléptica, Sucedáneos and, of course, A propósito de Garfunkel. In this last one, he asked for the collaboration of the high-pitched women and the low-pitched men, and together, they climaxed.

Translation by Irene Soto.