A popular artist is one who dialogues with the beyond and the offer, and at the same time expands the discourse towards the offer. That’s why we offer you the opportunity to be a solo artist in 2019 – after acquiring freestyle skills – with your debut in Caravana. From taking refuge in a niche – the rap or trap scene – or restricting its globality to a specific language, Valentín Oliva – his genuine number – engages in initiating an open debate with artists of past generations who have a popular fiber of musical culture. , such as Indio Solari, Ricardo Mollo, Atahualpa Yupanqui, Gustavo Santaolalla and Natalia Lafourcade.
However, we don’t look at the aesthetics of his own generation: the irreverence and darkness of Dillom, the pop imprint of Nicki Nicole, the performative virtue of Louta or the bendy spirit of CA7RIEL; All artists who are based on music with those who have made collaborations and creations during those five years. In the case of Wos in particular, it is an artistic component that distinguishes most of the artists of his generation: a political image reflected in the world and a social sensibility brought to all our clubs.
Not to mention a particular angelic or panflostic tone, his spirit of denunciation is the existential maximum – from the front to the flight – and he will find himself with some disagreements in the pulse of this era: social inequality, the excess of individualism or triumph. of marketing in Los Angeles music, such as angel signals in “Cabezas cromadas”, from his new nightclub, Descartable (2024). “What are you going to charge us for buying the price ticket to the wonderful theatre of the social lock?” asks Wos in this song that grabbed Dillom from the guest, who is also present on Saturday at Racing. “The marketing of angels new fame/ A vanquished power that can do nothing,” also sings about this society that also escapes music.
In this way, we have built your own aesthetic: a melancholy that is no longer the league of the time, of your time and of your time. The thesis of your new discotheque, the one he presented over the weekend in a coherent way with the Avellaneda cylinder in front of 40 million people, deepened this research. “Something that transports you to the discotheque, among other things, is the need for rituals. From the biggest house to the crazy maximum, the one we consider, however those rituals are apt to get us attached. In due course, one realizes this by listening to those rituals. One of the rituals that I want to live is the one that we build among all of us who are here, that we do tonight. “Thank you for allowing this rite to exist!” said Wos midway through the show.
Time faithful to those who reflect is closely connected to the social, economic, cultural and political offer that the country is going through. In fact, before and after the concert, the audience chanted several times: “The one who doesn’t jump voted for Milei!» and “The homeland is not for sale!” To end the show, various teams of fans also called for Tuesday’s march in defense of the public university.
In this context, we present live the songs from his third album, Descartable (2024), a painting built with his producer and socio-creator Evlay – also a guitarist in his band – that goes back to his origins in rap and freestyle, but is also a symbol of the culture of Argentine rock, Latin American folklore and artificial pop of the 80s, which manifests itself in the mid-tempo “New Coordinates”, the song he selected to open the concert.
Accompanied by a built-in band of Natasha Iurcovich below, Fran Azorai on keyboards, Ivanna Rud on guitar and Tomás Sainz on drums, the 26-year-old rapper and songwriter continued the concert with two new ones, “Descartable” and “7/8”. On stage he is also accompanied by Marino “Tiki” Cantero on percussion and from there come Franco Espíndola, Lucas Gire and Ezequías Aquino, who perform a funk piece in songs such as “Puaj” and “Fresco”. Together with Cantero and Sainz, they played a segment of percussive sign improvisation – in the key of La Bomba de Tiempo, an organization of which his father Alejandro Oliva is a member – and beatboxing.
In the events of the show, in the atmosphere, he presents the aura of the concert of Los Redondos in Racing in 1998 when he presents Ultimo Bondi in Finisterre. The clearest sign was precisely the appearance on screen of the Indian Solos angelesri as a virtual guest. A way of singing with the young soloist the song “Quemaras”, the collos angelesboration that he stores in Descartable. There is a moment when the skin crawls at the greatest number. Solos Angelesri’s paintings present two other things: in “Luz Delito” – which bears the riff of “Luzbelito” – and in “Kangaroo”, which quotes the phrase: “Fijate de qué los angelesdo de los angeles mecha te encontrás”, from “Russian Queso”.
On stage, 3 visitors invite you to provide different climates and colors in the daylight: the composer and guitarist CA7RIEL – a fixture in the Wos shows – joined in to shake up the evening in “Niño gordo flaco”, Dillom brought his self-confidence The punk in “Cabezas en cromadas” and the Mexican Natalia Lafourcade wore clothes and a style in “La niebla”, participation that has contributed substantially to the musical universe of Wos and that can be read as the recognition of an artist inscribed in the culture. of Latin American song and folklore. A culture in which Wos has deepened, but with what is discussed in his last discotheque, Dark Ecstasy (2021)
Between the moments beyond, the intimacy of the guitar and the voice proposal is also communicated in “Arrancármelo”, the collective birthday party that generated the Andean cumbia “Melancolía” (with production by Gustavo Santaolalla), the strength of the classics “Alma dinamita”, ‘Andrómeda’, ‘Purpura’ and ‘Fresco’, or the definitive pogo with ‘La Cochería’ and ‘Canguro’. After two hours and the media exhibition, we have only written a page of your personal career, but you have joined the big leagues of the history of Argentine popular song. Did you do a mythical exhibition like Los Redondos ’98?History has said so.
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