Sermon by Ethel Cain and Adoration of Florence represent the second day of Kalorama

And The day of Hurricane Florence has arrived. One year after the NOS Alive Festival, the legendary Florence + The Machine is back on the national stages, this time at Parque da Bela Vista. After she undergoes emergency surgery that nearly endangers the show at MEO Kalorama, Florence Welch shows off the fibers she’s made from and kicks up all the dust (and whatnot). However, prior to the advent of the sect, Portugal’s debut Ethel Cain wasn’t far behind in terms of number of followers, proving to be a name worth keeping an eye on.

Until dinner time, the festival-goers were not prompted to leave the designated places next to the MEO theatre, as The Tempest was about to arrive. In the record we’re used to – albeit more discreetly, because of her recent surgery – Florence Welch puts in a sea of ​​people who ran out there jumping and “boiling”.

Between hugs and cheers, face-to-face with fans in the front row, lead singer Florence + the machine She showed that she was, in fact, worthy of the title of “Queen”, having toured all the nooks and crannies of the main stage in her fluttering dress, like a witch casting her spell on the audience.

“It’s good to be here with you,” she said at one point, after admitting she wanted “to have a friend there.” I was feeling a little fragile, but I arrived feeling hugged and safe. Thank you.” He takes her hand. And it was. Finger to toe, palm to palm, Florence Welch and Ethel Caine performed “Morning Elvis” for festival-goers, ahead of the “hugely important” ritual of putting down cellphones and “living in the moment”.

The audience danced, the audience jumped, and the audience cheered, having passed on the “healing energy” to the artist, who was grateful again and again for the constant support. “I was nervous about this show, but they made it so great,” she said emotionally. He even sang “Never Let Me Go” followed by the famous “Shake It Out”, in a show that was full of dust, energy and love.

It was just after 5pm when Haydn Silas Anhedonia took to the festival’s secondary stage. The sun and the heat that was felt gave way to a somber and gray sky, almost a prelude to the sermon that was to come. Ethel CainHe, as he’s known professionally, would scream as soon as the first chords of “Home in Nebraska” rang out, culminating in the resounding “I’m the reason you ain’t coming home” (“I’m the reason you ain’t coming home”). I’m not going home” in Portuguese) among the crowds.

Despite the passage of the hour, followers of Mother Cain were present at her first “Requiem” on national soil, where the front rows dealt with the artist’s most popular theme, “American Teenager”, up close, and embraced by the bars.

© Helio Carvalho/Noticias au Minoto

Between thanks and declarations of love from the faithful who had gathered there, the 25-year-old was accompanied by Florence Welch—who would later perform on the main stage, with her instrument—in “Thoroughfare,” the subject of “a bit.” yeehaw'”, from the album he came to present, “The Preacher’s Daughter”. Harmonica in hand, sea of ​​people listening intently to the speakers’ ethereal rituals, which ended with a hug.

“God Loves You, But Not Enough to Save You” (“God Loves You, But Not Enough to Save You”, in Portuguese), from the theme “Sun Bleached Flies”, was also raised to aria, as it was an overture that ended in the same way it began – with the audience. Face to face with some lucky ones from the front row, Ethel Caine sang “Crush” from the EP “Inbred” before saying goodbye.

“Thank you Portugal! It was a great first concert.”

A day that tasted like two festivals: first love, then confusion

The night concluded with a confusing and confusing house, sometimes ugly and rude, but above all that experimental and ever-evolving house, whose greatest ambassador is the Richard David James Project, which we know as Apex Twin.

The Aphex Twin style cannot be concentrated in one word, in one expression. Suddenly we find ourselves lost in the dark, powerful music piercing our skin more than our ears, and we try to dance, to no avail. This song is just about feeling, accepting the disorientation, and looking at the laser-drawn skyline and the cubic structure rising up on the stage.

© Helio Carvalho/Noticias au Minoto

Before Florence Welch dropped her power bomb, there was the glamorous and veteran indie rocker Bill and SebastianArriving ten minutes late, due to technical problems with Stuart Murdoch’s keyboard, he nonetheless created one of those concerts that will be imprinted in the hearts of the old and the memories of the young.

Before the flower-filled “frontline” that was already looking at the clocks to see when Florence + the Machine came along, sprang up the historic Scottish group, which catapulted to limelight in the ’90s and has never stopped gaining sophistication since then. Quietly, with “The State I Am In” (it was 1995 when the theme was released), but soon made everyone forget that there was more to the music and that it was necessary to save energy. It is not worth it: in the shadow of these “old men” – as Murdoch himself admitted – it is very difficult to remain passive or serious.

Going through the “older than you” themes like “She’s Losing It”, through the development of “The Boy With the Arab Belt” (the keyboard insisted the band not be allowed to play, but Chris Geddes there lent Roland and there was euphoria both on and offstage), and even a cover of the song In “Satisfaction” (which a fan managed to snatch from the bandleader while he was taking “selfies”), Bill and Sebastian explain that the rags are old, that “there’s never too much ‘love'” and that there’s no weather to stop this tender storm.

© Helio Carvalho/Noticias au Minoto

on stage San Miguel, French kiwi juice (Help Us, abbreviated to FKJ) was a jumble of instruments as intricate and delicious as its name, surrounded by keyboards, strings, and everything you could pick up until you had no arms for more. FKJ took advantage of a curious crowd, who didn’t know what it was coming to, and surprised (at least those of us who, like many, went on an exploratory tour) with a smooth, well-balanced compilation of blues and electronics; It was a short while, but there was a sense that there was still so much for him and us to explore together.

MEO Kalorama ends Saturday at Parque da Bela Vista in Lisbon, with the expected return of Arcade Fire to Portugal. Fillies and classics The Hives, along with Pablo Vittar, Siouxsie and Dino D’Santiago, are the main names for the final day of the festival.

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