This Wednesday we tasted our group number 100 so far this year (in 2019 at this time there were more than 300). It was the sympathetic band Lorelei Green, who was unable to take advantage of the opportunity to perform at the Euskalduna despite its various potentialities: youthful, aesthetic (handsome, hat, somewhat Rosenvinge ruddy mane, bare feet …), vocalist and songwriter. In 52 electro-acoustic minutes that became eternal Lorelei Green sang 10 songs in which the venue became more than a giant, where she revealed nerves (when she spoke the most, she was most noticeable), her feminine lyrics were almost never understood (it happened from the whisper to the timbre but he had to move away from the microphone) and the accompaniment with his musicians (he had up to five squires: percussion, double bass, guitar, viola de gamba and keyboard player) stumbled due to the bad equalization and the little integration between them (more that a band was her and a handful of collaborators for a special night).
The repertoire of the Bilbao singer-songwriter? Well recurring in the concomitances with trembling female voices like Morgan’s and whispering ones like Bruna’s (both facets in ‘Afternoon’), rushing the hybrid American rock between the also local Clarisse and James Room (‘Paper planes’), skipping a little vigorous folk (‘Wild’) to the failed ethnic glimpses (‘I want to return’), clearly showing off in a very imperfect version of Laboa’s ‘Txoria txori’ (fragility, nerves, chirp of the viola de gamba…), betting on the commercial roll ‘taburetil’ (‘Silver bullet’) and saying goodbye with a repetitive twilight rock (‘Before the disaster’). It was not a disaster, but surely Lorelei Green also draws a lot from her intervention.
And attention: the disaster appeared after the long change between group and group. After an 18-minute hiatus, I, Gerard, came out on the stage, and there was no electricity for any of their devices! During the three minutes of comings and goings, Azpiazu and the undersigned commented that these things happen with local non-professional groups, but we forgot everything when we started the concert itself, the 101 of our 2020. There was an excusable error when the leader David Lamíquiz was wrong to start a song (he solved it with humor) and a solvable imperfection lowering the levels was the excessive volume in room 0B of the Euskalduna, which sometimes caused the combo to sound jumbled.
Otherwise, Yo, Gerard performed a stimulating electric concert in a 9-piece quartet in 46 increasing minutes that passed like a sigh. In his songbook there was a lot of postmodern urban sentimentality of british affiliation that referred to Vetusta Morla (‘There is no one left, there is nothing left in the pantry’), Pablo López for the piano and the overwhelming (‘Silence, today it is filmed’; by the way, David explained that they title the songs with the first phrase of each one, and that is the name of their only album, from 2018, which can be heard in Bandcamp, or the rock of the Blur or the Ocean Color Scene when they were good (‘You walked, dazzling, your betrayal through the square’: bulky from the title).
In addition, the pop-rockers linked Pink Floyd in agony with Windmill (‘The list is unfinished’), enlisted in the progressivity of Coldplay (‘We accept to play dice’), Iván Ferreiro stripped emotionally (the new one: ‘Good evening’), they covered Señores defining them as the best group in Bilbao (‘Democracia enferma’, where they invited Lorelei to sing, who already came up with flip flops), and they said their goodbyes as dramatic as the El Capitan mayor. Elephant, who will also participate in the Aurrera Fest! August 1 (‘When you’re finally gone’). I, Gerard, surely have a good memory of this Wednesday evening.