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"But where does the rock come from?" This is a question that has been heard in one way or another by the vast majority of Portuguese summer festivalgoers, and NOS Alive was no exception – " I thought it was a rock festival "," There is no sign of guitars in the eye "or" It's very easy ". It is, in many cases, a justifiable point: the growth of hip-hop as a dominant genre and the resurgence of trends like the new R & B have manifestly manifested in festival alignments, even those with a long history of guitars in hand. But the second day of the festival in Algés has proven not only that rock is always a beautiful day of celebration, but also that, for the genre, the possible paths are almost unlimited.
See, for example, the handful of concerts that preceded the great nocturnal performances, significant on their part but still without the status of headliners: there was the rock of spirit punk ] Japandroids which, impregnated with distortion (and packed in a live that lasted since Mad Cool in Spain), shook the structures of the Sagres scene while on the NOS stage, the Black Rebel Motorcycle Club mixed the scene. American heritage and the alternative in a garage rock as raw as melodious; or Eels, that in the skirts between the indie and the lo-fi gave rise to Sagres to Yo La Tengo, which with equal doses of noise and experimental rock brought Paseo Marítimo de Algés a delightful little piece from the 90's.
The first big name of the night, however, was The National who, sharing the crack head first, was the most wanted in the evening, and it was not difficult to understand why. Even for those who love less their alternative melancholy, one can understand the fervor with which the fans follow them with each new date that they mark in Portugal (that was the sixteenth), and the dedication with which they reciprocate. the favor in concert, or did not make Matt Berninger a matter of stage release, at the apogee of "The Day I Die", of the last Sleep Well Beast fall in the arms of the audience to sing the chorus to the lungs.
In Relation
"Are We Too Close?" We Still Had Ugly "- Dilemmas of Positioning and Visibility of the scene were already felt in the audience in the minutes leading up to the biggest show of the day: far behind, and the experience would be compromised; far ahead, and there was the same risk. This was by no means a good metaphor for the career of Queens of the Stone Age, a band that, positioning itself halfway between rock and underground radio more abrasive tendencies, always ended up more than one side or the other.
Fortunately, in the execution of NOS Alive, the evil was distributed by the villages, and for the benefit of all. There was room for dance movements ("Make It Wit Chu", "If I had a tail", "The way you did it") and those who asked for a more physical approach ("A Song For the Dead "" My God is the Sun ", and with a sense of" thank you, motherfuckers "always at hand, the group leader Josh Man has had the audience at hand from start to finish. say that the aforementioned elements of the audience have actually led to ugly on the top – it would not be the same without it.
And since not only guitars are made the genre, it was with a true rock spirit that the Future Islands has given one of the best off-hours evenings we have had at NOS Alive.We are talking, of course, about a group commonly nicknamed synthpop better known for great choruses and delicate textures than for aggression or revolt.But look at them for a moment so that all the pieces fall on the site: "Seasons (Waiting on You)" touches the bottom, sung by a Sam Herring pulling more by the scream than by the perfect notes, while, dazzled by the lights and behind a rough sea heads and arms, a couple kisses passionately next to a group of friends who sings the letter decorated so heard. And suddenly, all the pleasures of the world seem to be contained in this unique moment. It is for these times that we continue to go to summer festivals – that we can enjoy a lot more.
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