Xavier Smith.

Madrid, Sep 22 (EFE).- In a music market as heteropatriarchal as Spain has traditionally been, Madrid has shown tonight with its Aitana-mania that there is a huge space to accommodate personalities national in line with the Anglo-Saxon divas that they cultivate on a proudly feminine and pop energy.

Say it the cries of fervor that the young Catalan snatched this evening from the thousands of women, teenagers and girls (and sometimes men) gathered at the Wizink Center, more than 15,000 according to the organization, during her third foray into this place in less than a year (the second in a week) and, like the previous times, with the sign “no more tickets left”.

“It’s the last concert! I’m so sorry because these past few months have been wonderful. What an illusion to finish it here in Madrid, where I also feel very at home!”, declared the artist before the welcome received at the end of this “tour” in Spain before heading to Latin America to continue to move forward on its upward path.

Aitana Ocaña (Barcelona, ​​​​1999) left “OT 2017” as a finalist and thus repeated once again this unwritten law that this is the best position to succeed in this industry. At 23 and with two albums on the market, she is now one of the most important women in the national music industry having turned almost everything she touches into gold (or platinum).

Aitana is a pure present and this tour of “11 Reasons More” is proof of that as a supposed appendix to the “tour” which ended last December and which, again with almost all of its seats sold on the major stages of the country, has justified its existence in a repertoire that is only growing.

Indeed, of the twenty or so denominations that made it up, at least a third saw the light of day last year (the most recent, “Again”, this Thursday). Many of them will be previews of his third studio album and a few others have emerged thanks to his good ear and his confidence in collaborating with other colleagues as an engine of mutual growth.

This is one of the reasons that could explain the Madrid fervor for the young Catalan diva as well as that candor and charisma that are the hallmark of the house, but there is more, such as the gesture of respect towards her audience. which means that the concert started exactly at the appointed time, 9:30 p.m.

He did it with a showy introduction, between a crackle of spotlights and overwhelming projections that covered Aitana with that aura of a big star, something to which a stage production bigger than the style of national artists also contributed, with a bright display from which they have drawn all their performance in cuts like “Resilient”.

Very talkative between song and song (probably too much for a better rhythm of the concert), she never stopped commenting on anecdotes and behaving as a good hostess for her guests: Sebastián Yatra (with whom she sang “Las Doubts” and Corazón sin vida”), Marni (“Your passport photo”), Ptazeta (“You want”) and, almost at the end, a great climax with Zzoilo (“My Love”).

For the start of the evening, she chose “Formentera” and she did it under the shelter of a five-piece band, an effort worth claiming in the days of canned music, if only for the economic effort in favor of some professionals who have suffered a lot during the pandemic break.

Along the same lines, Aitana holds the mic in her hand with no sonic makeup for her voice. Just as she was known in “Operación Triunfo”, she comes out and sings to make you fall in love with her colorful timbre, especially in slower cuts like “With honey on the lips”.

It is true that his choreographic difficulties continue to be highlighted, but even that makes him a strength when it comes to using honesty. “Thank you to all my dancers for helping me find moves I felt comfortable with,” he said towards the end of the concert, recalling the mishap he suffered with an ankle. .

This desire for improvement became evident again when he confessed his difficulties playing the piano in front of an audience and, despite this, he sat down at the keyboard to weave in an acoustic start for “Berlín”.

Moreover, in the choreographed kisses of this theme, she clearly indicated her interest in making sexual diversity visible, while with “Ni una más” she tried to fight against female inequality, all reasons which, paraphrasing one of his most famous themes, have valid that Madrid promised him out loud: “I will stay.”

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