Rozalén Makes The Americas At Porta Ferrada
Disc by disc, and there are already four, Rozalén has been defining her own territory where the well-knit ‘cantautoría’ intersects with the electrical apparatus of pop and miscegenation with a Latin American flavor, which overlaps her figure of a determined woman who sings to the emotions, inner beauty, and fractures of the modern world explain her connection to an audience that continues to grow.
According to the organization, 1,700 people entertained her this Monday at Porta Ferrada, where she presented ‘The tree and the forest’, an album, she said, “full of love, but a lot of self-love, which is good too.”
These new songs slipped a Pan-American sympathy through the Andean inflections of ‘La linea’ (around migrations) and the flirtations with the cumbia (‘Que no, que no’) or the ranchera (‘Amiga’, composed e performed on the album with the Chilean Mon Laferte), in addition to the version of ‘La maza’, an original piece by Silvio Rodríguez, although with a more flowery treatment and close to the adaptation of Mercedes Sosa.
The play of strings and accordions of his wide band (six musicians) married his refreshing style, between appointments to Cristina Peri Rossi, Miguel Hernández and Dulce María Loynaz (“if you love me, love me whole”), and with the permanent assistance of the interpreter of sign language (and choreographic accomplice) Beatriz Romero.
Rozalén shared very identifiable sensations: the liberation that live music brings in these ungrateful moments (regarding ‘A tu vida’), the discovery that “we are vulnerable” (‘Caged birds’) and hope through crack, projected by a new song, ‘Mar en el trigal’, released in a ‘single’ shared with Fetén Fetén.
This piece displayed a tribal darkness that provided a welcome contrast. ‘Loba’ pointed to toxic links (“the more you tell me to shut up, the more I will have to talk”) and with ‘The day I die’ , with cheerful tropical aromas, Rozalén hinted that he takes the transit with sportsmanship towards the last resting place.
Without innovating or approaching the musical aesthetics of the moment, this 35-year-old from Albacete has made a place for herself with a form of composition that connects with secular protests, preserving good humor and keeping affectation at bay, although she sometimes scrapes her vocal cords dangerously. All this places his awake song in his own box, with a handmade background.