D a Souza released his debut album when Antònia Font broke up, in 2013, and throughout this decade he has been reminding us that Majorcan pop can continue to be a beautiful box of surprises. A popular, conservative slow cooking group that probably happened to be discovered by more than one person now that it has been disbanded. The work remains, but his last appearance on stage came Friday at the Apollo, a hall that has been sold out for days to accompany the farewell to her brilliant pop style, characterized by innovation and increasing melodic precision.
Singer and guitarist Louis Cabot admitted that the night was both “easy and difficult”, given the warmth provided by the crowd (and the friendly flow of guests), face to face with the giddiness of farewell. The best thing about this ending is that da Souza leaves it with his head held high, in a flourishing artistic moment, and they interpret the themes of his last two albums, Salsa agredolça (2020) and Dies d'attrezo (2022), marking the style of the repertoire. And the help of friends makes the night even more special, some of them arriving from Mallorca, like Yura Santiago, of Yura y Gomorra (incorporating his 12-string guitar into Roger McGuinn's Migracions de Salmons) and María Jaume, whose vision with the angel is imprinted in stones and sticks.
A mysterious wink
The group's trajectory has passed before our eyes, as it retreated into pop with the electropollution of April, returned to the miniature commissioned by Pep (for the IB3 series of the same title) and ventured into three successive seasons of La Faula del Falcó, the last of them with an acoustic touch Esoteric Helena ross (Pasteis relena). A mystical wink on a road with a tendency toward somewhat earthy hedonism, with the reggae of Diaro (sax solo by Eva Fernandez), the tribal fusion of Toro Sentado and Paella (with members of Me and the Bees and Power Burkas) and the revolution of La Ludwig in a theme that seems made for her , New Venice. Quim Carandell does what he loves best, mixing his vocals with chamber vocals on the “na na na” episode.
The spontaneous folk chorus ensured that such wonderful pieces as Bomba de fum, Fotogrames and Late Night, Meters Per Second, left a mark and resonated, and the chatter did not make the group compromise on their musical rigor. Welcome a young man, Pla-ET (Jaume Forteza), to 24/7, conveying the message that Mallorcan pop (urban, if you interfere) has many pages to write.
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