Play of the Stages | Revista independiente de música

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Play of the Stages

Around 19.30, Territorios opened its doors for another day. Hundreds of young (and not so young) kept entering the site, parting with the last sip of their beer and sacrificing the sandwiches wrapped in tin foil to the rubbish containers – the sandwiches they will end up remembering at dusk with a mix of longing and voracity.

With a constant dripping, the audience gathered in front of the Cruzcampo stage, on which JuanitoMakandé was to start a further festival day. Many of those present started to fall because of the heat, a heat that no one had expected, even though this is Seville in the middle of June. The most persistent fans of the singer-songwriter, victims of that sun of justice and collective suggestion, claimed to see Makandé walk behind the fences like a vision of Mary. But all good things come in fives, and finally Juanito entered the stage. The audience went crazy; they applauded and offered their idol favours of a very explicit nature – with no regard for their sexuality. «Good evening, guys» welcomed the singer-songwriter, and started his performance with Autogestión, a song from his first disc Sueña. The sun started to hide and the wind rose, loudly hitting the microphones, a fact which JuanitoMakandé used to introduce his following song, Contra viento y marea. He completely gave himself to his audience, even satisfying those who had heard little of him before. He played the drum with bare hands and claimed that if he had to die, it would be in Seville and with a beer in his hand. In the end, he said goodbye to the crowd with a song from his upcoming work Muerte a los pájarosnegros.


At the end of Makandé’s performance happened what we all fear when the order and location of every single one of the artists are announced. Trying not to belittle anyone, the heads of programme had created a long empty slot that attracted the audience to the beer – of course not without first exchanging the real money for those little chips we all remember so well from games like Monopoly.

When the night had come, El Chojin offered a spectacle of rhymes of the same speed as the coloured lights that illuminated the stage. His performance needs to be emphasised as he made it enjoyable even for someone like the author of this article, who admits to not understand anything about rap, but had as much fun as the most experienced.

Shotta and their league of extraordinary men assembled an enormous number of people in front of the stage, who, when the performance was over, started a mass pilgrimage from the CadenaSer stage to the Cruzcampo stage. In that moment, the poor organisation of the festival required that a difficult decision be made: Supersubmarina or Calle 13? In the end, Calle 13 won the fictitious battle for spectators. 


With a precise punctuality the audience was grateful for and behind a wall of fog illuminated with white and blue lights, Supersubmarina started their performance with Algoquesirva de luz. «Su, su, su, Supersubmarina!», the not very creative verse of a group of fans of the band from Jaén, took on a deeper meaning when the they performed the song of the same name. Song after song, they gave a faultless performance, full of hits that were sung along from beginning to end by their followers. However, the show was also cold and a bit impersonal. It was a show during which Chino only talked to the audience to criticise the organisation of the festival, an organisation which seemed to cut short the time of some bands in favour of others. And which, without finding a reasonable explanation, made a band with acareer like that of The Ting Tings play the last concert of the day.

In the end, Saturday was a day which made us question once moreour faithfulness to a festival that we appreciate so much. Territorios, we love you for what you are, but you really put us to the test.