Unleashed and free as the panther of her song, Monica Naranjo has celebrated 25 years of music connecting her most remote past with her most recent querence for the symphonic format, in a show in which containment has stayed at home to enjoy (paroxysm even) of their faithful. Five years ago the artist did not step on the Palacio de los Deportes of the Spanish capital, where it was received by 10 thousand people (according to figures from the organization), fans who in recent days kept asking for the “Renaissance Tour” of this diva who , by family member, doesn’t need surnames: “Are you going to the Monica concert?” Although few periods when the “Panther of Figueras” has been kept away from the public sphere, the 2019 one is a full-fledged return with a small-screen sex program, an impending trilogy titled “Mes Exités” and this tour that commcentric he emora his first album.
Photo: JuanJo Martín / EFE
The official version says that before becoming one of the great voices of Spanish music, with more than 10 million copies sold worldwide, the lack of repercussions in Spain of its attempts to become someone brought it to Mexico , where he successfully published “Mónica Naranjo” (1994). Her powerful throat, her then bicolor hair and her strong personality did the rest and allowed her to cast “Woman’s Word” (1997), which did make her a prophet in her land with themes such as “Untie Me”, which would follow her approaches to Mina (“I will survive”) , to lyrical pop (“Europe”), gothic rock and electronica.
Photo: JuanJo Martín / EFE
With the sole exception of the album “Bad Girls” (of which he has often abominated), all those incarnations have been present at the concert in rigorous chronological order until his last singles, such as “You and Me and the Mad Love”, a song of sexual tolerance, or “Double heart,” which will be on their next album.” I have missed you so much,” Monica Naranjo whispered after appearing wrapped in a white robe and sitting alone in front of the audience, his “family,” in a turn of confidence in which he said this was “the first concert really in mind” for them. “So no complaining about the repertoire. Sing with me and let them hear us even in Barcelona!” he shouted before retiring again.
Photo: JuanJo Martín / EFE
Thus they have begun two hours of a staggering spectacle, with their inseparable Pepe Herrero in front of 60 people between symphony orchestra, rock band and a huge choir opening the doors of heaven (or hell) for the re-entry of the star with “Love Places” before posters proclaiming, “Thank you for coming back!”” Untie me” has shown that his vocal cords remain strong and flexible, with “I begin to remember you” at the piano as the only accompaniment he has thrilled in memory of his late brother Enrique and with “Pantera in freedom” and “I will survive” electric guitars, tearing and unreason, just like being reincarnated in Mina with the ballad “Bitch in love”.” I did not come to listen to Extremoduro,” protested some other nostalgic follower of his purely pop sound, just as the diva was embarking on the foray at the stage of her career most attached to rock opera, with an almost Wagnerian chorus for the bombastic “Europe” or “Love and luxury”. It has not been all in the final lag, for the recent “Free to Love” and, above all, the “most marica” moment of the evening have yet to sound, the one of the naif “The Bells of Love”, making happy even those who had complained that Naranjo seemed “a soundtrack d Bayonne.”
