Beret shows his pop prism at the BEC

musikota.com

About 4000 followers enjoyed a hybrid of the viral Sevillian singer in the first great Basque concert with a covid passport

In these times of seemingly changing normality, going to a concert requires, in addition to the desire for collective enjoyment, a considerable dose of civic patience. Like the ones they had when queuing and religiously showing their covid passport with DNI to those attending the Beret concert at the Bizkaia Arena. In these times of viral imponderables, most artists also tend to become somewhat transcendent in their reunions with the public. And the Sevillian was no exception.

«Thank you for putting up with everything that has wanted to get us out of music that cannot stop any pandemic. Seeing you up close again is very crazy. 18 April became a viral phenomenon after a friend posted his first self-tuned pop videos on YouTube on vampirized bases on the Internet

Since then Francisco Javier Álvarez Beret has molded a homologation as a pop singer arriving and acting as a coach in ‘La Voz’ after re-recording his songs in vane ‘natural and organic’ collaborating with people like Pablo Alborán, Melendi, Vanesa Martin, on his first album multinational ‘Prisma’ (19). A recycled repertoire of hits that returns to tour live together with some of his new pandemic songs (I will never understand, You are forgetting about me, Please don’t go) that will be part of his next album that he has already started recording.

On his return with eight months of forced delay, Beret summoned the type of plural public, mostly female, dedicated and prone to mobile phones and karaoke (even with a mask) that viral and cathodic artists attract. In his early days as a Seville park rapper, Beret demonized the industry. But now it works under the auspices of Warner or the Live Nation emporium and can rotate with a great stage montage (pyrotechnics included) that, weighs its rap-rock hybrid approach (band with programmer dj bassist, backup singers, pianist, drums and rock guitarists) proposes a billet of aseptic sound and with high reverberance and volume to the mics, perhaps to hide the vocal deficiencies.

Beret confesses his little musical background. You hardly mention SFDK, Morodo and Andrés Suárez as references of their trivial dressing of rap, reggae and pop. But he knows how to chain adhesive confessional and sentimental verses that the staff know by heart and go to his bowling alley to sing loudly the topics that have been learned by frequenting the social networks that are very present in Beret. A constant in the 22 songs that he chained in an hour and a half redundant in halftime and ballads with emphatic piano that end up drifting towards a kind of rapped pop with little urban overtone and with less foundation and versatility than his colleague Rayden.

‘Youtuberas’ roots

With that approach he began to move, between smoke fumaroles, flares and fireworks, with ‘Si por mi outside’, ‘I miss you’ and a ‘Cósemé’ re-recorded with Vanesa Martín and finished off with a solo filoheavy guitar maker. Something of festive rhythmic and lyrical dynamism contributed the mestizo dancehall imitation that were ‘Sentir’ or ‘Me mata’, to recall their ‘YouTuberas’ roots with a ‘Pandora’, which was the only unchanted song of the night.

The mention of Pablo Alborán as a vocal ‘partener’ in ‘Sueño’ unleashed a momentary madness when not a few girls thought that the malagueño would come out. The Latin reggae enjoyment, a bit between Myke Myers, Tremendo and Rauw Alejandro, continued later with ‘Bara Bara’. He remembered the most maudlin and author Melendi in ‘From zero’ and an ‘Ojala’ that gave way to a starchy stretch of piano ballads (Tell me who you love, Look woman, you’re going to see me. You are forgetting about vi ..), whose Redundant drift barely altered ‘Esencial’, another rescue akin to Beret’s limited and Hispanic way of understanding dancehall reggae.

An amplified mobile ringtone and more calls from the front of the stage introduced ‘Me llama’, the first high point of a celebrated final stretch that the Sevillian faced with his recent ‘Please don’t go’ recorded with Morat and a ‘Respiro’ whose recited lyrics (‘I have dressed in my most fragile skin and I have never won …) allowed him to become a bit mystical about the’ butterfly effect ‘unleashed by his first home videos and the overcoming of his fears derived from that disorder of anxiety that he says he suffers,

The kicking in the stands anticipated the long-awaited encore with his first big hit ‘Sorry’, which lifted the formal staff from their seats for the first time before giving prominence to his band and saying goodbye with ‘Bye Bye’ and a chanted succession of acapellas scraps of his hits. A choral climax that evidenced the degree of following of a Beret that has managed to translate a viral following that would allow him to live off his digital income (more than 4.5 million subscribers only on YouTube) into fans who pay to see him and sing his songs even in today’s cumbersome circumstances.

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Beret shows his pop prism at the BEC