The spatial effects of Izal in Bilbao

Rozálen entering Izal’s interstellar ship. / CARLOS Gª AZPIAZU

The Baffle

The Vitorian Mikel Izal’s quintet landed with his interstellar ship in Miribilla and before two thousand singing earthlings he projected an overwhelming show in which he summoned six guests through his screen: Rozalén, Miguel Ríos, Bunbury… The best of the year!

Oscar Cubillo

From the beginning of their meeting on Friday night at the ‘Bilbao Musik Fest’ it was suspected that Izal would give one of the best concerts of the year. By clear sound, by interstellar scenography with the quintet playing from the cockpit of a large spaceship, by the three giant screens (a giant rectangular screen at the back of the stage always amazes us, filming the short shot of the drummer of a group, in this case of Alejandro Jordá), by the beams of light that radiated like C-rays shining in the darkness near the Tannhäuser Gate, by intergalactic communications with earthly scientists, by contact with the strange life form of that planet far away to the that stops Izal’s ship. And because of the appearances not in hologram but in two-dimensional macros, giants, of guests (six) who sang their respective songs, guests who were, Rozalén, the best in her role, and now in order not chronological but decreasing in artistic or whatever you want to call it, Miguel Ríos, Bunbury, the three Sidonie, Mabü and Zahara.

Mikel Izal, el líder total. /


Izal played 22 songs in 124 great minutes from beginning to end, because something different always happened on stage, on the magnificent luminescent shed, whether they were successions of images according to a very elaborate montage (from Mikel’s relatives in ‘Qué bien’ to the terrifying black and white of ‘Practical Panic’), various arrangements of the musicians (from the first adopted in the gospel a la Fleet Foxes and Band Of Horses to the inaugural ‘Meiuqèr’, with all five hippie-like in the corner of the stage, to another with the five lined up in ‘The tremor’), or the mere succession of the songs, which is what really matters.

Izal starting hippie with ‘Meiuqèr’. /


Mikel Izal spoke just enough to his mass of fans (almost 2,000 told us at the box office), he told us again that he grew up in Vitoria but spent six years suffering (sic) in Bilbao, studying engineering in San Mamés (about his studies is perceived in the technical concepts of several letters, in the same core idea of ​​the show on this science fiction tour), and he recalled that in his early days they performed a lot at the Cotton Club in Indautxu, «before 10, 12 or 15 people, and now it is an incredible miracle that you are all here ». Hum, the tall, tall, bearded and long-haired engineer can only be criticized for saying all and all and sanitary and sanitary. The rest, all commendable, also when he made an effort to do the duck walk.

With the usual good acoustics in Miribilla during these concerts of the ‘Bilbao Musik Fest’ cycle, shot by so many performances (the day before in Santander, last weekend in Vitoria …), reinforced by an imaginative and simple audiovisual device with short films held on professional actors, visual curtains and the surprise interventions of the six guests, the progressive, sentimental and reflective repertoire of Izal, which among other factors had one foot in the recurring vocal accent of Ismael Serrano and another in the compositional and even lyrical structuring of Vetusta Morla, was concatenated with a scenic potential that has nothing to envy to the macro concerts of Muse, Fito, Pablo López …

Iván Mella, keyboard player from Bilbao and Mikel’s right-hand man. /


In constant communion with his parish, who chanted and clapped his hands without being asked, Izal had numerous remarkable moments, qualitative, strong, absorbing, surprising … Reviewing the notes we found the progressive heavy of ‘Autoterapia’, the links with Love Of Lesbian in ‘White noise’ (hum, and we think at least twice about the Baracaldes Captain Elefante), the Mars Volta vortices of ‘Copacabana’, the zenith that was ‘The invisible stone’, the first collaborative and teleported intervention of the guests who were Rozalén’s in ‘Little Great Revolution’, Abba-style pop from ‘Wormholes’ (a very’ Interstellar ‘title, right?), the first encore with Miguel Ríos, the second and last with’ Bunbury ‘…

From the beginning we assumed that such a colorful spectacle, magnificent not only for its size and offering so many songs in gradation, could enter our list of the best concerts of the year, and it will be on it. If we finish 2021, of course.

Article: Soure