Rock in Rio Lisbon: Farewell Get ready with Titica and collect 80 thousand to watch Anita – showbiz

He entered the stage on a motorbike, bid him farewell about an hour later and assured that he had had a special day. Upon her return to City of Rock, four years after her first performance at Parque da Bela Vista, Anitta established an enhanced standing among today’s biggest pop stars and was welcomed by a dedicated audience. It wouldn’t be an exaggeration to say it was one of this summer’s most awaited concerts on national theaters, so much so that it helped sell Rio Lisbon’s last rock date (and the only one of this release to reach that level).

In her portfolio, the Brazilian brought a host of hit songs in a logic, if not everything for everyone, that revealed a remarkable eclecticism: from Bailey Funk to Reggaeton, from electronic rock hits to “Girl from Rio’s bridge between home and the world, legacy” Garota de Ipanema” which replaces Portuguese with English and accepts other sound pollutions.

The audience, visibly excited to join the celebration unreservedly, did not take long to follow in the footsteps of the singer and the many dancers who, like musicians(?), witnessed a drop in character on the side screens and in the back of the stage – and everyone who was at a great distance From the center of events (a large part of the 80,000 attendees) he had to turn to them to follow the movements of the artists. The problem was that the director always chose to prioritize the singer, especially her tail wagging, at the expense of the team that accompanied her – which, moreover, was not even presented, with the exception of guest MC Rebecca in “Compachi”.

The periods when Anita changed her clothes were the only exception, as the dancers demonstrated capoeira, but the main argument of the singer was not her voice (often leaving her with suspicion in playback) nor her dance (without particularly creative choreography.), nor the moments when she addressed the audience “You damn it,” she repeated to him and ensured she would be thrilled to return.

He also admitted that he was living one of the best days of his life, a strange engagement in the shadow of this mechanical performance, without room for great spontaneity or unforgettable moments of communication. Not even to the big provocations, no matter how much the lyrics and vocals of singles like “Vai Malandra” or “Envolver” present themselves as naughty and vulgar. Unless one gets shocked by the constant tail wagging in 2022 (we remember Madonna is already sixty), which was touted as the show’s biggest event, this diverse group of urban pop has a few offenders ( Yes, there was a shy kiss on the mouth between the singer and dancer) and much derivative and pasteurized.

Occasionally, some live instrumental music, especially those closer to Bailey Funk, but far from the roughness, sweat, and slackness that his countrymen Tittin or Bond du Rulli, among others who helped export the sound, were heard in concert for more. of ten years. Anitta takes so much spice from the original recipe that she ends up playing it safe, which didn’t stop the inevitable “Sua Cara,” “Modo Turbo,” or the inevitable “Show das Poderosas” (finally served with an electric guitar case) from matching and perfect. To the expectations of many who have been waiting for this party for months.

Closing out the night at Mundo’s stage, after HMB and Jason Derulo also passed, Post Malone sang solo and also had a very popular spot to hear songs from “Twelve Carat Toothache”, his room album, released this month. Dressed in a T-shirt from the “Lord of the Rings” films, the American presented a mostly teenage audience, who never tire of singing his many themes. Like a person surrounded by his friends, the singer and rapper drank and smoked, were passionate about companionship and were not afraid to face a naked stage.

He filmed the lyrics between pre-recorded music, except for the occasional moments on acoustic guitar (which he ended up destroying, in a supposed fit of rebellion to add to the regular swearing), and also participated in a virtual duet with Ozzy Osbourne with Fireworks. And there was no shortage of adhesion. To his inner dives that crossed pop, pop, and r&b on topics like “Wow,” “Better Now,” or “Insane” for about an hour. Shorter duration than many fans expected, but, as in Anitta’s case, she won’t be impressed by a night that’s rewarding for most of them.

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In one of the first shows of the day, Titika was among the biggest surprises of this edition of the festival. And one of the most glamorous, in a show that also owes so much to an impressive troupe and four dancers, all at the height of the unstoppable energy of the Angolan woman.

Between the traditions of her homeland and allusions to some urban music, the transgender artist was not only charismatic and intelligent when addressing the audience, but also launched an interesting blend of kodoro with other rhythmic languages.

Delivering weaker and other loops faster (with a significant advantage for seconds), it was a particularly strong performance when it made use of the clash of guitars and percussion, sometimes reminiscent of the rocodoro of the Portuguese Angolan Throes + The Shine or Cos de Bongo (not by chance, Titica collaborated on Buraca Som Sistema’s first solo album, the last “Sakidilla”.

Destruction devices, “Come e Baza” (intended for the Brazilian Pabllo Vittar) and “Chocalho” gained weight and strength compared to the recorded versions and showed their natural territory on the stage. The same can be said about the song “Chão Chão”, which in the past ten years has become the greatest anthem of this trip – it had a strict choreography, in which dancers and numerous spectators bowed at the request of the singer.

In between, the early afternoon Rock Your Street theater host lashed out at homophobia and people who “disrespect difference,” or who haven’t been active since the start of her career. At the end, the dancers were on stage, sharing a traditional Angolan dance and garnering some of the biggest applause for an infectious performance. “I wanted to show a little bit of our culture outside of the kuduro,” he explained, inviting a fan to come up on stage to follow his moves. It will surely have left those who joined the concert wanting to find it again in other theaters – from B.Leza to Festival Músicas do Mundo or Arraial Lisboa Pride, there are many places where a show like this deserves to have room to shine.

Calling out more audiences, a few hours later, Brazilian Johnny Hooker took to a Rock Your Street concert that also combined rhythmic vibrations and reactive behavior. The singer from Recife criticized, without uttering, the “killer government” of his country, “which has deliberately delayed the arrival of vaccines against Covid-19”. The manifesto was among the episodes most highly acclaimed by a mostly fellow audience that showed he knew his songs, many of which centered on same-sex relationships (and with the right to put up rainbow flags with Lula da Silva in the front rows). This was the case of “Amor Marginal”, dedicated to Andrei, a friend of the artist who died a victim of COVID-19. The song “Caetano Veloso” already praised one of its references, along with David Bowie and Madonna, although everyone who saw it, in Gothic mode, probably remembers more than the icon of “The Rocky Horror Picture Show”, which this song unabashedly brings together MPB, rock, bargain, and even flamenco seem to be a spiritual descendant.

On the other hand, Idiotape closed one of the most exciting rock stages in Rio Lisbon at a time when many were already thinking about having dinner before preparing to receive Anitta. Which is why the South Korean trio didn’t get the support their streaming sound deserved, even though they may have come a little too close to the tougher side of Daft Punk, Justice and other holders of French electronics extremes standard. The power, responsible for two components in the programming and one in the battery, still shifted some of the time to recharge the batteries, but it could have had another effect after Anitta and Post Malone’s farewell.

The Rock in Rio Lisboa 2022 was held on the 18th, 19th, 25th and 26th of June. The festival’s return has already been confirmed for 2024.