Taylor Swift, an undeniable goddess with a better kingdom than songs | Culture

Is for both Taylor Swift? These five words formulate the biggest question facing modern man these weeks, not only in culture and entertainment, but also in sociology, economic upheavals and even geopolitics. From Wednesday 8:14 pm we started unraveling the mystery at the Santiago Bernabéu (a delay of 13 minutes would have been nice to preserve the totemic figure), and we have to agree. The Eras tour It is the most grandiose, overwhelming, exquisite spectacle and superlative that is remembered in the Western world. It represents a masterful exercise in mass seduction via the fast track of exaggeration. And in these cases you can only enjoy the deployment of technology and human capital (you still have to learn it, Rosalía) that takes place for three hours and 19 minutes with millimeters of scenic mastery, but without the feeling that the diva is saving energy or not . know well whether you are in Madrid or Sevastopol.

Let's see, the bracelets with lights flashing to the rhythm of the music were already worn by Coldplay in 2012 at the Vicente Calderón, which in terms of stage virguería is like talking about the last century. But the use of walkways, mobile platforms that elevate or engulf the artist, small huts in the forest (in Vest and consecutive), neon cyclists, real and figurative pyrotechnics, reckless flares, audiovisual production or special effects (that house on fire at the end of lover) They are a scandal. And they show that on this point Pennsylvania is not only a leader, but the supreme being of a new monotheistic religion. The enthusiasm and shouting are immeasurable – laugh at those Liverpool kids at Shea Stadium – except now the sound is fantastic, especially for what is typical of large venues. Nothing to do with the hell at the Bernabéu before the reform or the brutal acoustics at the Metropolitano.

Another 65,000 souls can testify to all this, as the artist himself announced from the stage (they seemed less), certainly the highest concentration of sequins and glitter remembered in the Iberian territory. And from girls, boys and chic wonderful people meeting in the stands this year, and even Florentino can't cope with that reality. What's most remarkable and even moving is that Taylor seems genuinely moved to see the extent of the chaos he's caused around him for one more night. And it's even hard for him to find the words after the three-minute closed ovation that is the beauty Champagne problems, personally defended the wing.

Because Swift is clear that he was born to rule and not to abdicate the crown for years; Just as not only pop music, but the world itself has understood that we desperately need an unquestionable leader. The heroine exhibits a beautiful voice, orders and commands all night without shrillness and cherishes a kind of collective cloudiness that goes beyond the fact that she is beautiful, stylish and the owner of an overwhelming wardrobe. But listening attentively over 45 songs and three long hours also confirms the suspicion that his repertoire, already at the level of the eleventh album, does not parallel the supreme enthusiasm it evokes.

The youth album department is a pure trompe l'oeil, a catalog of successful pop without a hint of caffeine in which it is difficult to get beyond the powerful and unapologetic manifesto of Ready for it, those 10 minutes that seem less All too goodinto the throat-breaking chorus We'll never get back together again or laying on the hat at the end of 22, that fell into one Swiftie a very young woman who had to share the best little struggle in many years with her grandchildren. And of course the accelerated and overwhelming tandem of Empty space And Shake it off, two pieces that release more vitamin D than a whole Hydroferol tablet.

Gaps in the plot can always be filled with the waste of stage ingenuity, an operation with no fewer than fourteen dancers (attention to those gigantic petals that unfold at the beginning of the show) and a dozen musicians positioned in the corners of the stage, but which provide several well-deserved moments of relaxation get glory. Everything improves significantly in the section of Folklore And Alwaysthose two brother LPs that are by far the most inspired and mature of their signor, and also contain beautiful telluric choreography Willow. But The Department of Martyred Poets, His much-discussed new album leaves the door of doubt wide open.

The magic of the live performance softens the narcotic effects of the original phonographic record, two hours that seem designed to gain the blessings of the Colleges of Dentists. Swift moves it to the last part of the evening and spices it up with an excellent nuclear white staging in which not a single rotating platform is missing. (Who's afraid of little old me) with which, in case something was missing from his CV, he would also have won the Eurovision Song Contest.

Taylor won't be that bad; but “Taylor's thing”, his power, sorority, empathy and brutal dedication to the show (even to the cabaret, before I can do it with a broken heart) Yes that is true. And in a montage of cyclopean dimensions, she has the great pleasure of reserving every evening a few surprise songs, only on voice and guitar or piano, which this time were Sparks fly and an intersection between them I look in people's windows And Snow on the beach.

It contains beautiful electropop ingredients midnight, the era that serves to close. And during the dancing, the confetti and the fireworks, it is moving to think of all those young people who had to organize collections among the children to buy the ticket and who wake up today still shrouded in a fog, because it was not so is every day that a deity comes to earth to tell you: “Nice to meet you. Excellent, Madrid”. But if we want to endure as the greatest muse of our time, we must also raise the bar of writing at the level of its staging. And note that, in times of supposed diversity and 90,000 new songs every Friday on Spotify, seamless unanimity represents a beautiful paradox.

Taylor Swift, at the beginning of the concertClaudio Alvarez

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