Nobody ever prepares to finish Vive Latino, so going to the festival on the second day begins as a bitter drink to see the closing ceremony nearby, followed by a one-year wait to return, but with the passing of the bands, the agony turns into adrenaline and musical passion.
Technicolor Fabrics began operations on Sunday, March 20, 2022 at the Autodromo Hermanos Rodríguez. The set of the Mexicans was full of music to move the boat and feet, also seasoned with exciting guests such as Adanowsky, Elsa and Elmar or Este Man. A round presentation in which they highlighted their musical performance at the level of the stage that required them, and they, of course, happy and passionate to be there.
Bruses was a special and very incredible case. Her career was largely driven by Tik Tok, where she uploaded her songs and some covers, which soon catapulted her to heaven, giving her the opportunity to develop as an independent artist, sign with a transnational and finally play on Vive Latino, all within the time frame of the Covid-19 pandemic.
Although the stage was not full, there was a large number of young tik tokeros who attended to listen to electronic pop, with punk and emo tones from Bruses, who did it in a wonderful way despite the adversities.
Ramona, from Tijuana, Mexico, said in an interview with Infobae that their greatest childhood dream was to play around the Republic and the world, but in a very specific way, to have the opportunity to demonstrate what they are capable of on the stages of Vive Latino. It was fulfilled: the Carpa VL had a great call to listen to one or another piece of those romantic ones that Ramona is known.
Son Rompe Pera, on the main stage, displayed his own slogan: “La Cumbia is the New Punk”. Along with his Marimba Maldita, they burst the horns with several top level cumbias, and even a little punk accompanied, for example, by Ale de la Portales and Israel Ramírez from Belafonte Sensational, as well as Alberto Pedraza and accordionist Grissy Pedraza. The audience moved their hips to the rhythm of the band originally from Naucalpan, in the State of Mexico, making them winners in the most impressive festival in Mexico and Central America.
Vanesa Zamora, although with a slight delay in the schedule, was able to keep bher fans waiting, and prevent them from leaving with the only promise of experiencing an incredible show that, once on stage, she really showed. The pop that emanates from his sweet guitar, was elevated with electronic beats and a powerful drums. Fun, powerful and very passionate.
Rap was present at the festival in many ways, including the rabid, incendiary and very energetic show by the Argentine WOS on the Claro Música stage. People could not stop jumping, nor marveling at the incredible interpretive ability of the rapper who rose to fame with the Red Bull Battles of Cocks, but showed that within the Latin American rapper scene, he has his place very well earned.
Love of Lesbian left Mexico a few years ago with the promise of returning in a couple of months, by far a total of 12, but things were very different. Because of the SARS-CoV-2 pandemic, they were outside our borders, in their native Barcelona, for much more than a year.
For them, there was only one way to reward ourselves for this: by offering the most emotional of the concerts that could be witnessed on the second day of Vive Latino 2022 activities. Songs like “John Boy Fan Club”, “When You Don't See Me”, “Where We Used to Scream” or “1999″ brought out a tear or two from Mexicans.
One of the stellar moments arrived, the most anticipated show by many of the Vive Latino attendees. C Tangana, in his well-placed role as Madrid, took over with an impressive scenery of the Indian Scene, in the middle of the Palillo Martínez Stadium.
The images of the people are impressive. There is no big enough stage for Pucho, there will always be those who stay out or away, because its popularity today is unprecedented within the trap, pop, rock or flamenco industry, or bolero, or wherever you want to put its incredible versatility.
Taking a tour of his most recent album, El Madrileño, he amazed all the attendees, coupled with an excellent performance by the musicians who accompanied him on percussions, on guitars, in the winds, and on the keyboard.
The party even lasted for several minutes, originally planned for just under an hour. And even so, there were several outstanding issues, we will never have enough of C Tangana, who left with applause, shouting, crying and a lot of love. “Pucho, brother, you're already Mexican,” exclaimed the audience.
For his part, Residente stopped on the main stage to leave everyone a message of Latin American pride, and of peace, unity and momentum of art, in what he considered a very violent time of much war, where unity among humanity is needed. It was an unprecedented concert, René's first after a long wait due to COVID-19, and the one that marks his exciting return to the adventure of the stage. Among the highlights were his reversions of Calle 13, his new song, first played live, This Is Not America, and the shot to J Balvin.
To close the Latin American participation of Vive Latino, the legendary Fabulosos Cadillacs came to the stages of the Foro Sol, accompanied as for several years by Mark, son of Vicentico on Guitarra and Astor, Flavio's son on second drums, as well as the return to their ranks of the impressive Sergio Rotman, saxophonist.
With all the pieces well placed and oiled, the Cadillacs jumped onto a main stage jammed with people who missed them not only within the Festival, but in Mexico, where they hadn't been here for several years, and where there was a pending concert ruined by the pandemic.
From the Genius of Dub to I Wouldn't Sit at the Table, the Argentines had a wonderful selection of greatest hits that throughout their 38-year career they have accumulated on albums or singles. An extraordinary demonstration of Ska, reggae, ska Two Tone and even salsa. Vincentico, a majestic but giving king, and Flavio Cianciarulo, an oak tree impossible to throw away.
This was another day of Vive Latino 2022, between concerts of great importance within the music industry, many new sound experiences, and, of course, the teaching that there is no better investment than art and culture.
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