Camela’s algorithm

The brother-in-law Dioni and the companion Ángeles. / CARLOS Gª AZPIAZU

In a septet format full of prerecorded engravings, Dioni and Ángeles warmed up the 1700 souls that populated Miribilla based on a combinatorial machacón repertoire of love terms that come and go and are repeated.

Oscar Cubillo

There were quite a few young people among the 1,700 souls who came to Miribilla on Friday to celebrate with Dioni and Ángeles (he called her companion, she cuñao) the 27th anniversary of Camela, a sign that the Madrid duo has been successful for a while, as their audience is renewed and also they connect with the techno environment: from the rumba rumba thump of their pinitos (revised in a delirious and effective medley) to the bombast of the Pet Shop Boys (as revealed in ‘When love sails’, the last of the 14 pieces -two of them medleys- that sounded in 103 minutes).

Without background visuals and with few geometries of the spotlights, Camela performed in a conceited septet, with five backing musicians who contributed little to the arsenal of prerecorded, sequences and playbacks. Inside the stage there were no baffles for the musicians, nor lit pilot lights, the drums barely stood out in the equalization – it seemed to be unamplified – and the musicians beat it above the fired rhythm, the heavy guitarist on the right sneaked some picks short after stepping on his pedalboard, and the bassist was introduced as ‘the director of everything’ and he was the one who pressed the button on the computer to start the music, the recording in unison (no looking at the musicians, count one two three , and start playing).

The stage clean of loudspeakers. /

CARLOS Gª AZPIAZU

Thus the talent of its musicians was underused, but also in this way there was a wide safety net: things did not sound bad in a pavilion, the volumes remained homogeneous, and the brother-in-law Dioni and his colleague Ángeles sang more comfortably, it is assumed that Without playbacks the two of them and to corroborate it there we had that she sometimes did not tune to perfection (after the triple and solo medley that she sang sitting on a stool, something would suspect because she alleged that something of the technical equipment had been moved and had not felt at ease during that number).

And already pointed out the technical tricks (the shameless playbacks or prerecorded and the lack of support videos), let’s go to the busilis of the macro-concert and emphasize that Camela triumphed from beginning to end, with the people (‘family’, Dioni called us) chanting all the songs (“Is there a song that you don’t know?” Angels inquired, and NOOOOO, the crowd responded), and in the epilogue dancing standing up to increase the stress of the security who walked the corridors asking the bipeds to sit. In fact, at the end of the show and taking the final photo with the audience behind, the Camelas asked that everyone be seated, everyone, since the photo would be panoramic.

Dioni jumping like Boney’s /

M. CARLOS Gª AZPIAZU

The concert was slightly varied: track-filling rhythms, some sentimental ballads to breathe, solo moments of the two singers (more beautiful that of Dioni: the slow narrative ‘The station of wanting’, with details of Springsteen piano!), And charletas for the public that adores them, as when she evoked how the group was born due to the fact that Dioni, who boasted of being a ‘body’ at age 50 (yes, agile was already, and she showed it by jumping and dancing like Boney M) , was hovering around one of Angeles’s sisters and that’s why they met (here she snapped: “love is blind, cuñao”), or later a period as an advertisement, as Dioni and Ángeles took the opportunity to talk about the products available at their merchandising stall (the fans were very successful) in a conversation that went through the hills of Úbeda until it became unintelligible (“the Camelas doing a Pablo López” same premises unless p public: 1,250 versus 1,700).

But in reality what the Camelas do is apply an effective algorithm on the limited and chosen vocabulary of their lyrics to compose songs where words such as love, in love, affection, heart, body are combined with mathematical rigor, listen to me, I love her, I remember , illusions, look, she and he, always, dreams, I can’t, and we believe that people too and you make me suffer.

Dioni and Angeles could have fewer musicians. /

CARLOS Gª AZPIAZU

Without leaving there, such semantics and statistics, Camela invoice songs as churros. Songs that have hook and that pass from generation to generation (we have already told you that there were many young people in Miribilla), hits every five years less undergrounds that people are learning by heart. Reviewing the repertoire, those 14 open pieces with ‘Indomitable Heart’ (from when Camela were a trio; by the way, on Friday they did not mention his former partner until 2013 Miguel Ángel, who left the photo eight years ago of these 27) We do not know if these 14 selections are repetitive or demonstrative of their own and inimitable style, we conclude that the second and third were very good for them (‘I can’t be without him’, very nineties, very choni, very Bigas Luna and already put a rock on his feet, and ‘Escúchame’, quite a Pimpinela), the aforementioned ballad by Dioni ‘La Estación del Waving’, the long potpourri of his first steps (with titles like ‘Save your words’, very much like Triana techno-rumberos , the very gossipy ‘Marioneta de su vida’, the brilliant ‘You’ve made fun of me’…), the idiosyncratic ‘I’m still waiting for you’, or ending in false before the encore the barraquera rumba ‘Dream with you’.

All these quotes were better than others, such as the triple medley of Angeles alone, the ballad with the lights of the mobiles on ‘You have changed my life’, or their latest single, ‘In the pocket of my heart’, where they talked about the video but they did not broadcast it on screen, and where she did not tune very well.

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