Los Deltonos – Sala Shoko (Madrid)
Wednesday, February 12 · 2020Going to see the Deltonos is a safe bet. If the venue also accompanies it, it’s a joy (the last time I saw them was at the Sala Penélope, in La noche Americana organized by Manolo Fernández, and it was a disaster on a technical level). The current line-up of Los Deltonos was presented with the addition of Íñigo Bregel (Los Estanques), as the concert was being recorded for future projects, as announced.
They attack the staff with “Gasoline” under the skull of Saluda the champion presiding over the stage. Without truce and like a bulldozer “Taquicardia” and “Que podríamos hacer”, Javi Arias’ drums hit big and strong. They sound overwhelming and greasy and it is at the end of this third track that Hendrik Röver addresses his audience for the first time: There have always been false prophets a certain Jesus Christ or C. Tanganyika, serves to introduce “Elvis”. There is no puppet with a head, without artifices and with lyrics that began as a joke song and ended up becoming reality, “Eagles”, the first song of its last length is made to wait until this fifth song, to continue with a little tiruca in “South” and give a truce with the appropriate tuning, remembering the Cantabrians their origin: From Muriedas, Los Deltonos. Then they launch with “Fuego”, which gives the title to the last album and the tour, “Vergüenza” and “Cazador”. They play with an enviable inertia, the rhythm marked by Pablo_Z’s bass takes the band effortlessly, each of the four in their place, while the audience asks for more, until they reach “Discotheque Breakdown”, with an instrumental ending where they let themselves go. A song that sounds like a declaration of intent (the Shoko room is a nightclub in Madrid). At this point, Fernando Macaya’s flourishes have delighted the staff. And so it happens and closes this first block “Correct”, before the entrance of Íñigo Bregel.
With the quintet on stage, songs like “Segunda vez”, “Milagritos” (here it’s true that the winds are missing) and a rocky version of “Colisión”, turned into a dense and dark blues. They close this block with “No por nada”, “Doctor” and “Salud!”, reviewing their most recent stage, and saying goodbye to the keyboardist. The quartet picks up the pace in one last set of songs, before the encores, with “Listo”, “(Soy un) Hombre enfermo”, “Repartiendo” and closing with “Mirar atrás”. The different stages of the group are not differentiated with a well chosen set list and a compact, as well as greasy, sound, which grants alternative versions to the studio recordings in some of the songs.
They wouldn’t beg for encores, a single block with five songs that would open with “Horizonte eléctrico” to continue with “Brindemos”, where we lay down the absent friends, Cuerda and Kirk Douglas. There are weeks of concerts that could be obituaries. In the final stretch, “No, sir” and “Feliz” heralded the end of a night of rock ‘n’ roll blues that would end with “Hard luck blues”.
The journey through all the stages is clear, although with the amount of good songs they have, the concert will always be short. It’s 23:10 at night, a little more than two hours of concert, but as the lyrics say, “it’s the right thing to do”.
Text: David Vázquez