Drake supporting La Scaloneta, the magnetism of Rosalía and the best moments of the first day of Lollapalooza Argentina 2023

“It’s my first time here and I want to sing this song: ‘aaaaaaaaaaaaaaaaaaaaaaaaaaaay‘” he started waving Drake and it took him a few seconds to convert the audience from lollapalooza argentina in the swollen La Escaloneta, finally putting the crowd’s mood to the fullest on the night of his Buenos Aires debut. The sweet, low-intensity rap from the Canadian was the most anticipated thing on Friday. And he appeared against the light, between fires and smoke as the only special effect on the led screens illuminated in white, black or red. More than minimalist, a return to the basics.

From the initial “SICKO MODE” -originally recorded with travis scott– until the fleeting zapping for the hits that put him on top of the world, such as “God’s Plan”, “One Dance”, “In My Feelings” and “Hotline Bling”, Drake did the same without standing out but without stopping touring not an inch from the stage and catwalks. Alone in his gait, he unrolled some of his gentle flow but also leaned heavily into his crowd, handing him the mic right where his bar tops would fit. Or also to make Rihanna in “Work” or Bad Bunny in “Mine”. Her star faded little by little and, with an end in fade somewhat ahead of schedule, left the most faithful satisfied.

“1… 2… 3… Argentina!” they shouted. rosalia and his dancers seconds before going on stage as if to cheer each other up. On the other side, lights off and expectant shouting. After having traveled the world during 2022 aboard the Motomami Tour -which included two recitals in Buenos Aires-, the Catalan started a new tour right here, at the festival where her romance with the Argentine public was born back in 2019 and with The Evil Will just edited. It was a version redux and less physical than the show that was seen here in August of last year, with the accent once again placed on the visual and without musicians on stage. Thus, he reaffirmed his irregular magnetism, conquered new hearts and gracefully avoided some typical missteps of the living.

At the end of “Saoko”, first on the list, it was seen how the singer ran to the side to ask for assistance. And two songs later, after the bachata “La fama”, an assistant appeared on stage to act as a seamstress: the bottom part of a dress that, from a distance, looked like an Argentine tablecloth had come undone. “A few dots here, love,” Rosalía told her, and after a while she was ready for her drill flamenco of medley “You don’t leave here / Bulerías”.

Later, when he was about to sit down at the piano for “Hentai”, he noticed that it was out of tune and decided not to sing it until they got it right. But the public insisted that he do it a cappella and she agreed to put herself in the pocket forever to the crowd. The very close-ups, the icing on the show, projected Rosalía to the teeth, in the most stripped-down version of her and with bitten nails.

In addition to swinging between party moments (“Linda”, “With height”), others of baroque pop (a fragment of “Blinding Lights” and the live premiere of “LLYLM”) and stagings in the contemporary (“Diablo”, “CUUUUuuuuuute”), it was also allowed to incur ideal material for the shitposting: there was the accelerated coda and for TikTok of “Despechá” or the little dance “against hand” by Rosalía, the dancer from Fabian Show which became a meme. And in case it wasn’t clear that the idea of ​​“guilty pleasure” doesn’t exist for the singer, towards the end of her hour, she sat down on a mountain of digital junk and deeply sang “Hero”, from Enrique Iglesias.

“I didn’t find you in the lola hoooyyy…”, was reversed Chano at the emotional peak of the return of so bionic. “Obsessionario en A mayor”, or the “national anthem of desolation” in the words of its own author, multiplied in the throats of the crowd and for that moment the impossibility of feeling alone despite being surrounded by 100,000 became possible. people. The feeling of the singer, pure heart departedwas transmuted into that solitary choir that showed that there were those who missed the group.

The afternoon had already had its share of pop with the dissonant proposal of dawn and the dance for the masses of Tove Lo. But a little bit of hysteria was missing and they arrived on time Bambi Moreno Charpentier, seby seoane and diega lichtenstein to overcome Chano’s show, who had come on stage with the bearing of a boxer after a tough fight and a mix of his solo songs (“Carnavalintro”, “Naistumichu”, “Claramente”).

Behind an LED screen that opened in two, the four appeared together with their classic martial jackets and gave new life to both the group -which had separated in 2016- and songs like “Ciudad mágica”, “Ella” and “God’s melody”. And before leaving, they promised one last performance in a stadium in the City of Buenos Aires.

“Stay together”, a mother told two teenagers who could be sisters, cousins, friends and who were already starting to walk towards a stage and get lost in the crowd. The phrase heard in passing betrayed both the transgenerational and multitudinous character of Lollapalooza Argentina: many families and from very early on they took over every inch of the San Isidro Hippodrome, passing the time between the proposals. From above that was also noticed. “Be careful with the little ones, be careful with the older ones. Let us know if you need help,” he asked. Thunder to his people at the beginning of his powerful set, based on the songs from his latest album Right or wrong.

As always, his father accompanied him Peter Danger and KMI420 to give it a patina hard core to the matter, even when the La Boca native rapper veers towards trap or reggaeton. On the other hand, he was shown to the increasingly firm versions of the separation of him from Nicki Nicole and performed “Mamichula”, the song they recorded together in 2020 and with which he conquered her. “I never forget this night in my life, it’s that short”, she celebrated after the massive chorus of “Tierra Zanta”, one of the last and with which she rounded off a twilight set.

Earlier, and when the sun at the San Isidro Hippodrome was still beating down, Thunder had appeared on the set of Dante Spinetta. Two generations of Argentine rap joined hands in the version of “Sudaka”, part of the still brand new album Sweet table and that they had already sung together last December, at rapper xeneize’s shows at Luna Park.

From the guitar or the microphone and with a suit purple prince, Dante commanded a rosé big-band that allowed him to further expand his elastic flow. And between “The dark side of the heart” and “Rebellion”, he had another very special guest: he shared the verses of “Olvídalo” with his little daughter Vida de él. A while later, he also had the pleasure of rescuing Illya Kuryaki and the Valderramas (“Coolo”) and closed his moment with his hit “Mostro”.

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