That simple guy

The visit of Jose Gonzalez It was one of the highlighted dates, within that new cycle baptized as ‘Revolution 65’ which this summer has offered several concerts under the protection of the Teatro Real in Madrid. A more than appropriate setting to embrace the virtues of the Swede, sharing location and musician a solemn (and palpable) implicit elegance. The appointment with the Scandinavian with Argentine roots corresponded, in turn, with a stop on that generous Spanish tour with which he has defended live the pieces of “Against The Dying Of The Light” (Imperial, 26).

At exactly nine thirty at night, José González took his place in the center of the stage, with the satisfied intention of offering a concert with simple ways and overflowing consequences. Armed with the only weapons of his impeccable voice and an acoustic guitar, the composer completed a concert full of invaluable nuances, in the triumph of simplicity and minimalism as a mode of expression… and emotion. A masterful use of less is more that results in art with its own personality. Only a few magician tricks – in the form of loops and measured effects – accompanied from time to time (and with respect) such an organic interpretation, capable of awakening a revealing silence that extended to the entire theater.

With the end of each song I swallowed saliva, trying to recover some of the composure that led back to shock with the next song chosen. No exceptions. From classics such as “Down The Line”, “Crosses”, “Heartbeats” or “Killing For Love”, through recent pieces such as “Etyd”, “Ay querida”, “U – Rawls Slöja”, “For Every Dusk”, “You & We” and “A Perfect Storm”, or the already essential versions of “Teardrop” by Massive Attack and “Heartbeats” by The Knife mimed under the singer’s own influence. A selection, furthermore, enriched by the musician’s polyglotism, combining songs in English, Swedish and Spanish under the common protection of that exquisiteness that is clearly non-negotiable.

Reserved for the encores were the eternal “Line of Fire” – from that parallel project of González called Junip –, and a “Pajarito” that almost saw fit to link with that older cousin of his which is none other than “Blackbird” by The Beatles. A rereading of the song written by Paul McCartney with which José González said goodbye to an audience surrendered to his charming discretion. A triumph supported by exceptional good taste, revealing (once again) of the compositional sensitivity of the protagonist and a no less moving and beautiful live performance. Flawless. All.