Two aspects to summarize a concert of more than two hours. Both in the final stretch. On the one hand a partial interpretation, medium in medium seriously joking, of topics such as Sweet Child or Mine, Billie Jean, “Livin Life crazy o Ain’ t no mountain high enough, All foreign issues. They were a consequence of the way he presented to the members of his band, refusing to do what all artists do: pronounce their name to receive courtesy applause. His musicians had to start a theme and he picked it up or let the band develop it. The list changes in each concert.
The second aspect was listed as a phrase by his wife: “We cannot guarantee tomorrow, only now.” On screens his deceased or alive relatives but dismembered by neurological degeneration. And fuchsia. The now that he proposed in a RCDE Stadium, 32,000 people in his only concert in Spain, is a celebration of life, well smeared with humor, irony, carelessness, self -parody and music that does not matter who it is as long as he moves feelings. Pure entertainment. You have to live now, tomorrow is just a promise that we ignore if it will be fulfilled.
Robbie grows on stage. It is the same if your music likes it or not, it is how it defends it, how it laughs at yourself, how their words play with the senses, how Ironiza about colleagues, ”he said to have a stage in the center of the enclosure because he saw it in but that the bracelets was expensive and better than each one turns on his mobile – and how he uses his face and body expression to define and guide words that you transcribed lose effectiveness. You have to see it, you have to be there.
He did not give a concert, he displayed a spoken show, cabaretero, an alternation between monologues and songs in which he said he wishes to be the best enterteinment of the planet. If we are here it is to laugh, said the subtext of the show in which he sang other foreign themes, these in full version as New York, New York, My Way y She’s The Onerecorded by him from the repertoire of The World Party and sung to a French fan who had already seen him in Paris. Also Popurris with Song 2” (), Living On A PrayeR (Bon Jovi) and Seven Nation Army (The White Stripes), just at the beginning, between hits of the caliber of Let Me Entertain You, Moonson o Rock Dj. Popular culture, ingredients of the recipe of an artist who knows how to do his own in order to entertain and relativize this very small portion of time in which we are alive. Impossible not to be infected by the message of an ephemeral music like pop.
The scenario, populated with suspended screens, had on its stage mobile platforms on which the musicians were, with wind section and three choristers included. Also a rocket bounce from which Robbie descended as an astronaut at the beginning and who returned to say goodbye from the heights with Angels. A hallway entered the track to a second stage, the “copied” of Coldplay, and to access Robbie he walked through corridors through which he greeted the public and collided his hands until he found fans with whom to sing his songs. Being close is important, especially if the past imbalances and excesses are part of the script, because telling intimate issues to a distant stranger would be only pure theater. The public is almost a family of enterteinmentthe receptacle of their skills and the engine to continue deploying them. It is not impulse to speak to him familiar. That is why Robbie asked at the end of the show if people would like to age with him, a way of requesting affection and accepting that despite his red tracksuit, his fuchsia attire, his energy and his tattoos the time passes and the 51 are already in his locker. From his new album, which will come out in autumn, it only sounded Rocketthe guitar theme that opened the show. It will be titled Britpoplike the one last year published by AG Cook in Hyperpop code. AND
n the Robbie concert also sang a fragment of WonderWall (), one more proof that England, now fractured, tense, impoverished and with its inhabitants taking the teeth at home due to lack of public medical attention, I long for that musical style because when it was born in the 90s it was all hope after the march of Thatcher and the advent of a young and dynamic Tony Blair. The carefree hedonism reigned.
Music evokes not only our youth, but also hope, music is a refuge to fall times in which both are missing. Robbie Williams is that ointment that applies so that the wounds, someone tender and thug, pillo and endearing, a fragile survivor who first laughs is of himself. That is why it is credible. That is why it triumphed even even if not everyone understood English, because their faces, gestures and appearance said everything. And he still had the songs, to a large extent half -times and ballads in the second half of the show, to get the stadium to become a sea of flashlights and arms rocking as an anemones to celebrate life and its music. If Robbie did not show that deep down he feels astonished to have survived, he would not be the same, his words would sound to imposture, to the cookie phrases of fortune. But this hooligan is so real that the personality that projects a good part of its success. If the Spanish, owner of the stadium where Robbie acted, was saved last season it is because he believed. And Robbie believes in himself. His audience will age with him.
