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Two can not even give one yes, but three? Even before the start of the third and final day of Super Bock Super Rock, it was obvious that the prospects were not the best. Despite the good number of people the day that brought Travis Scott and Anderson Hip-Hop .Paak, the day before with The xx and Justice, only attracted a modest number of people , barely able to fill the space of the three main stages. And even though the official figures of the organization estimated that between 16,000 and 20,000 people were present at the scene each day, the on-site image suggested much more conservative data, which n & # 39; 39, obviously did not help the three main acts confirmed. for this closure of the SBSR party to be so musically disparate. From grime Stormzy to Benjamin Clementine's pop art or to the retro-futuristic rock of The Voidz are distances difficult to justify in the organization reflected in the bad membership to date so dubious outlines – we have not seen anything on Saturday that looked like a scene composed in one of the advanced musical proposals for the day.
Which does not mean that there was not among these proposals, much was appreciated by the participants. The punk punk dizzying Portuguese sunflowers did not stop hurting, as well as the rock avant-garde of the pop Dell 'Arte, both on the scene LG. And like other highlights of the day, we can not fail to mention the seductive electronic pop of the Dutch singer of Iranian origin Sevdaliza, as well as the brief but memorable performances of La Fura dels Baus that mixes music, dance and accessories The giants hanging from the ceiling of Arena Altice deserved a place among the most creative and most timely confirmations of the festival.
Adorning the most successful poster heads, Stormzy and Benjamin Clementine were, despite all the difference, equally competent at making lemonade lemonades – that is, inventing, with the little that 's all about. they were given a party worthy of interest. The first, with an imposing but melodious grimace which contrasted with the more abrasive trap of the day before and which continued to make beautiful dance steps. The second, doing as usual his communion in concert, and relying on public support to echo his refrains in every corner of the Super Bock scene.
And when the time came for the one who will be remembered the worst concert of the year, the biggest surprise was not even that Arena Altice was, for all intents and purposes, empty nor that the ostentatious passage of the name of Julian Casablancas at the front of his group had failed as a commercial tactic that hurt those who expected to have an idea of their past life in the Strokes), but rather that Until then, no one had stopped to think that it would be a bad idea to have a band with this profile as the festival poster head. A group that does not hesitate to mix notes of synthpop noise and nu metal in one of the most oblique rock sounds of recent years , if not for the participation of the legendary singer of the Strokes, for the notorious lo-fi tone of his recordings and the dirtiness of his sound – characteristics that combine in one of the best conceivable examples of an anti-head displayed.
So he was there. The more cautious may have found something of what they were looking for in The Voidz's live performance (the alignment of songs for fans was even more complex), but the stuffy volume and the bad acoustics Altice Arena led to an already thin audience. he was bleeding people every passing minute, so that in the end there were not more people than one would expect from a tertiary stage. And the few words of Julian Casablancas actually understandable in the midst of chaos – a jocular "I hope the sound is ok", fully aware that this was not the case – were the testimony of the l & # 3939; intentionality of this show which, at heart, was considered ugly and
The fact is that, about to beg us not to love them through their sound, The Voidz did nothing more that be equal to themselves – nothing that has been featured on the Super Bock stage This would be surprising for anyone who knows his two albums, Tyranny and Virtue. But putting them where they were and the way they were sold did not only favor a rock that wanted to be sidelined, but also prevented them from actively giving up the talent they had, despite everything, to offer. Yet, despite being far from a "good gig" that all that has gone through the Super Rock Super Bock in these three days, it can not be said that this knockout has been not, in its terms, an absolutely memorable experience. As a face-to-face performance, however, we could only find the dark scene.
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