It’s been almost three decades since we’ve seen her in Barcelona, since that far-out concert at Zeleste 2 in 1995, during the extended wave of her debut album, Tuesday night music club (two years later she stopped at the Pyrenees Doctor Music Festival, and before that, in 1988, she was Michael Jackson’s favorite backing singer at the Camp Nou), and Sheryl Crow satisfied the accumulated desires, yesterday at Poble Espanyol, with her rock roots sprinkled with some hits from the MTV era. A powerful concert by a charismatic, well-songed singer-songwriter, perhaps better known now than ever, when her commercial dimension raised eyebrows far beyond American music fans.
It was the opening night of the Alma Festival, the second and “twelfth edition of the Jardines de Pedralbes”, he wanted to emphasize his director, Martin Pérez, recalling his autobiography, in his welcome speech. And Sheryl Crow who, after starting to walk with Real Madrid (from the Cars soundtrack), makes a bit of a mess of languages (“Barcelona is so beautiful,” she asserts when talking about his visits to the Sagrada Família and Park Güell; “My Spanish is a poop”). By converting permanently to English, he conveyed his intention to “take the road to the beginning.” Powerful message for more information about Run Baby Run Matter. From there, to the song that changed everything in his life, All I Want to Do, at the climax of which he stops singing so the audience can make it their own.
Dilanian paused
A competent band, with Audley Freed (formerly of The Black Crowes) on guitar, and the skills to make the pop refrains of the climactic My Favorite Mistake and the gentle trot of Living Las Vegas shine. Material from the 1990s and early 2000s in particular. Although he said a few years ago that he would never record again, this spring he released Evolution, an album on which he played the title track, a satirical exercise in artificial intelligence. “I turned on the radio and heard a song that sounded like something I wrote,” the lyrics begin, in which he says we are “lost in space and time” and that maybe one day we will find “the great solution.”
Crowe maintains that beautiful, sometimes slightly raspy voice with which he ends some verses with Delaney’s sweet voice. Whether he was playing acoustic guitar, electric guitar or bass (on a hard rocker, there goes the neighborhood), he exercised calm leadership, blending into the band, and letting everything flow without overacting. The artist kept the tension on stage with songs like “If It Makes You Happy” and “Soak Up The California Sun.” In the end, I think she recalled her abilities as a confessional composer, nourished by the noblest sources of the profession.
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