Just a year ago, Aitana gathered more than 45,000 people at the Estadi Olímpic, and this Friday she already began to surpass that record with the first of her four Sant Jordis. “It’s crazy,” said the artist herself, who admitted the nerves that singing “at home” causes her. And although Professor John Keating from Dead Poets Society already warned about the dangers of translating emotions into numbers, there is no doubt that something exciting happened this Friday inside the Blue Room.
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Divided into five blocks that cover the hours of the day, the show started with the dancing heartbreak of February 6th that Aitana performed at a slow pace, lying on the bed in the blue room. Although in reality she could have done a bridge if she wanted, the audience would have cheered her just the same, with the same strength with which she sang almost everything heard on the hot Friday night until hoarseness, where fans carried more fans than lightsticks, the luminous sticks that many fans of the Catalan carried in the Korean style.
‘Blue Room’ focused on a show that gave great importance to the screens with an omnipresent Aitana
The stage, detailed and theatrical to the point of including a small dressing room, gave primacy to the screens, focusing again and again on the artist with calculated and continuous close-ups that matched songs that, like 24 rosas, she performed alone on stage, between stage mastery and egocentrism. Sometimes the screens were the only way to follow the performance, as in the eponymous Blue Room, which she performed lying on the bed with curtains that hid her from the audience, visible only through the LEDs. Meanwhile, the dance troupe mixed classic choreographies with more static and scenic movements, very rehearsed in Trankis, or Música en el cielo, dedicated to her grandfather, and which show the influence of what Rosalía did on the Lux tour.
With no new material to present, the performance became an eternal return of the Aitana universe, the cheerful pop of Segundo intento, the flirtation of Duele un montón despedirme de ti, the disco sound of miamor – with the allegedly controversial sexual movement in the dance – or the obligatory guitar ballads like +, from her second album.
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Dressed in light pink, angelic like her voice, with a tulle skirt and high boots, the protagonist tackled her show just as Bruce Springsteen performs Born to Run, under threat of betrayal by her audience if she skips any step. And an artist does not need to blow out 70 candles to add a patina of nostalgia to their songs. The retro sound of Los Ángeles, the nineties references in Las Babys, or the simple and magnetic rhythm of Mon amour sounded this way, as if they were many more years old than they really are. The same happened with Vas a quedarte, a melodic song far from the synth pop that predominated in the evening, marred by the poor sound at Sant Jordi.
A list of consolidated pieces that since last summer includes Superestrella, the unofficial anthem of the World Cup won by Spain and which, from hearing it so much, has become another classic with which the artist closed her triumphant return to Barcelona.
