As soon as one meter and sixty -five centimeters measures. In two and a half hours of concert, no costumes are changed, wide, street and with chains. His gesture is moderate, almost grimly, distant from the fuss, but he is a dominator, and his shower is a magnet for the looks, because his voice, changing, ductile, also aggressive, sometimes warm, also veil as a string of insults pushed by anger, summons the spirits of music, love, self -affirmation, of personal crises, of the personal crises, of the personal crises, of the personal crises, of the personal crises, of the personal crises, of the personal crises, of the personal crises, of the personal crises. It is called and is one of the most influential artists of the moment, the spirit of an era, its musical teaching in a hip-hop, a dominant style. And he has enough capacity and vision to understand that the contest of a friend, a subtle interpreter from afar from subtracting prominence to his show amplifies him in a collaboration in which concomitant worlds, that of his musical styles, are able to illuminate a stadium and some times. In the Barcelona Olympic stadium he was a majestic, dazzling and overwhelming example of contemporary music in an exceptional show.
Everything was thought, everything made sense, nothing was because yes. Neither the changing rooms of the dance body, nor the lighting, nor the distribution of two and a half hours of show in acts, nine, nor end two ballads, Luther y Gloriaa majestic concert in which the changing rhythm was alternating between both artists, complementary to all effects. Because Kendrick makes hip-hop, but under the recited the rhythm and blues And, beyond, the soulbecause he recites, but also sings, because Sza, who has an extraordinary voice, is able to caress, Love Galore You can melt the stretch of sensitivity, infiltrate rock guitars as in F2F or silly with pop-funky to eat Kiss Me More. Two halves fitting, but not geometrically, but as that space that the tides beat and that is now water to be then sand. Border world, fertile space.
The show began under the daylight, but did not lose strength or character for it, TV off He was responsible for lighting the euphoria lights of the 48,000 people present. And from the zero minute a splendid sound, with serious rumbing that made the lighter structures of the enclosure tremble next to the voices of Kendrick and Sza sounding absolutely sharply. The hidden musicians, but always band sound in coexistence with digital reinforcements that did not dilute the sense of direct sound, sometimes raw –DNA-dark in others –Like That-sophisticated in the magic list of the concert with Bitch Don’t Kill My Vibe, Money Trees and a Poetic Justice in which, the only sound macula of the night, Janet Jackson’s delicate sampler was not heard.
For its part, Sza sounded just as convincing, with an acoustic guitar opening Nobodys Gets Me and the general warmth of a typical Rhythm and Blues repertoire, formed by ballads with rhythmic drive born to Mecer. Pure sensuality attenuating without dissolving the verb and the rhythm of Kendrick, capable of asserting with rhymes the keyboard arpegios of Reincarnated or to put in dance, doing Moshingwhich is what is now called Pogo, the public in m.A.A.d city. He followed him Alrighta Black Live Matters soundtrack, and that was a glorious syndion.
Apart chapter deserve the screens and visuals, more monochromatic and street with Kendrick and more colorists and peak with SZA. The embedding of the real image of the scene with the previously edited image, the resources and effects used, the multiplication of the same image in a different distribution of the screens used in Not Like Us To emphasize in a coral sense of criticism of the record industry, the elegance in the distribution of colors and shapes, the use of it All The Starscomplemented by the lanterns of the mobiles, were a sign of a millimeter planning that enhanced the choreographies. And all this without the concert to seem rigid or unnatural. And all this with darkness only from the fourth act, with SZA by liquefying the stadium with a ballad like Blindgloom to an already dead relationship.
If a priori they could give a little repair, for possible empacho, two and a half hours of music between two artists, the night went to the holiday speed. Is it over? You could think after the second part of TV off. It is over, yes, a little later, but in the memory is the most complete show of the three that Kendrick has offered in Barcelona, and that of the spring of 23 was not turkey mucus, complemented for greater glory of black music by an SZA that far from detracting the night opened it to other textures and atmosphere based on ballads. A simply colossal concert, sample button on contemporary music executed by artists at high times of their careers. Sza ended up signing what was thrown to the stage, kneeling, and next to Kendrick disappeared inside the car, a 1987 Buick GNX, who also opened the night and that represents aspirations, past and present of an artist and his music.
