Best of 2017. Albums 31-40

<<< 41 - 50

If you do yourself a favor and listen to all these albums mentioned below the only question to get stuck in your head would be "Who the fuck are in the Top30?'

40. Eladio y Los Seres Queridos "Historias De Caza" (p)Seres Queridos
"Cantares", the gallego-speaking set of cover versions that Eladio Santos and his team put out an year ago, was rather the step aside than the natural successor of his previous (brilliant) effort "Orden Invisible". Now we've got this natural successor, and it's brilliant as well with its beautiful songs and mellow chamber/folk arrangements.
SPTF

39. Villanueva "Zoo Para Dos" (p)Sony
Read full review

38. Futuro Terror "Precipicio" (p)BCore Disc
After the conventionally sounding "Su Nombre Real Es Otro" Futuro Terror return to the more complicated structures of their eponimous debut. I consider it the right step undoubtedly as, you know, who needs one more album of conventional punk rock when you can provide them with the punk rock with a twist instead.
BNDCMP

37. Xavier Calvet "Firebird" (p)BCore Disc
More of Joey Cape, or more of Greg Graffin? That was my only question when I learned about the Bullitt's frontman Xavier Calvet was going to release a solo effort. The truth is, none of them - it's like the third vertex of triangle. The songs are mostly acoustic and mostly upbeat, and regarding Xavier's songwriting abilities apparent via Bullitt's discs "Firebird" is absolutely no-lose choise.
BNDCMP

36. Blusa "K" (p)Nooirax/ 
"Toca Breakbeat, Perro!", the previous album of sevillanos Blusa, was a cinematic post rock masterpiece. Now a trio, Blusa absorbs programming and electronics (the entities completly absent on "TBP!") and cooks the record that is more intricate and more psychedlic than the predecessor. The tracks have no names, only numbers placed in no consecutive order. It's up to listener to capture the messages, meanings and images this music produces in his mind without the prerequisites given.
BNDCMP

35. Agoraphobia "Incoming Noise" (p)Dotbeat
'I want it to sound like a bulldozer, like Armageddon', Veruca Salt's Nina Gordon talked to producer Bob Rock during the recording sessions for "Eight Arms To Hold You" trying to square down her intentions on the guitar sound - this trivia came first to my mind when I pushed the play button. On "Incoming Noise" the guitars are realy sounding like bulldozers and/or Armageddon so the album fits perfectly for the role of the aforementioned "Eight Arms To Hold You" and L7's "Hungry For Stink" stepchild.
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34. Ultim Cavall "Records Del Kyoto" (p)Discos de Kirlian/ Emma's House
Read full review

33. Joe La Reina "Esas Nuevas Modas" (p)Subterfuge
It's a way more complicated record than "Bailamos Por Miedo" (quite complicated itself), and it needs more time to grow on you. As I had little time since its release date to fall for it, it climbed only to the 33nd place now. Being released, say, in August it could surely climb much higher than that.
SPTF

32. Vetusta Morla "Mismo Sitio, Distinto Lugar" (p)Pequeno Salto Mortal
I can't make my wrapped-up opinion on "MSDL". It somehow falls to pieces. Every given song is great - and some songs are really THAT great, you know. This is the step forward for the band for sure (some new tricks, some new directions) but as a whole it doesn't sound quite cohesive for my ear.
SPTF

31. Decurs "Incendio" (p)Subpost/ Krimskramz/ Dead Stallion/ Ojala Este Mi Bisi
The level of the Catalan hardcore/post hardcore scene is unbelievable. Decurs initially appeared as absolute nonames for me but it didn't surprise me at all that the album's great cos you may choose any album amongst the pool of Catalan post hardcore albums - and it would be equally great.
BNDCMP

21 - 30 >>>

Best of 2017. Albums 41-50

Every year it becomes more complicated. It takes more time to listen to much more music and then to peel much more really great albums off of the final Top50. Fifth year in a row - I present you the list of the best albums of the year. And I bet you this list is not like any other (though it never was an intention).

50. Atras Tigre "Fainos Salir" (p)Triunvirato 
The catchy synth-driven indie pop with strong melodies and twee aroma that skips back the decades and wraps you with the vintage 60's atmospheres. Atras Tigre are one of the discoveries of this year, I have never learned of them before.
BANDCAMP

49. Sierra "A Ninguna Parte" (p)Sonido Muchacho
Sierra's pure indie rock (in the 00's meaning of the term) outdoes many of more renowned competitves within the frames of the genre. For example, you can't find such the consistent album in The Maccabees back catalogue.
BANDCAMP

48. Proyecto Solaz "Propaganda" (p)
A harsh, angry, disturbing record. To listen to it is not a pleasure, rather it's a trial. So if you want some sweet music to befriend you and embace you, you'd better pass along. But if you want some solid mass to punch you in your face - you're welcome!
BANDCAMP

47. La Iaia "Tornar A Ser U" (p)Right Here Right Now
Strangely captivating folk/indie pop album from Catalunya. The singer sounds like he's tracking the vocals for the child cartoons tunes - but it hardly could be a problem (even if you've never been much into the Tullycraft back catalogue).
OFFICIAL SITE

46. Jay "Fuimos Nosotros" (p)Matapadre
Read full review

45. Maresme "Golden Coast" (p)Foehn Records
If you need some medicine to ease the pains of longing for the new Oso Leone release (my case) or sedate yourself off of living in the cold unfriendly country (my case as well) - there is much to dig out in Foehn's roster, and the Maresme debut album could be your perfect choice.
BANDCAMP

44. Karen Koltrane "Album" (p)Foehn Records
"Album" effectively creates the mood that slowly takes you away from reality like if you dive deeper and deeper into the sea. Moreover, it has probably the best cover design of the year.
BANDCAMP

43. Autumn Comets "Realejo" (p)Records del Mundo/ La Estanquera
When I listen to Autumn Comets I always think of what if Smashing Pumpkins came another way after their resurrection. Now they might produce records like this instead of that shit what they really produce now…
SPOTIFY

42. Me And The Bees  "Menos Mal" (p)La Castanya
This album (arguably the best in Me & The Bees' career) is full of short ultra-melodic 60's Merseybeat songs with jangling guitars and bright young male/female vocals. The most optimistic album of the year that resembles The New Pornographers and - especially - The Apples In Stereo.
BANDCAMP

41. Pandan-Lagl "Pandan-Lagl" (p)Gran Tigre
The lo-fi side of El Relevo Aleman's Jose Carlos and Cristina. Recorded with the drum machine, the album delivers everything I like in El Relevo Aleman in more stripped-down and intentionally underproduced way.
BANDCAMP

31 - 40 >>>
21 - 30 >>>

#Sonorama20. Interlude. The 5 Years Rankings

As this was our fifth Sonorama (some kind of a jubilee) I'd like to select some best events we witnessed for these years.

Top10 performances on secondary stages (including Plaza del Trigo that should in no way be considered secondary):

10. Love Of Lesbian – 2016, Plaza del Trigo (concierto secreto)

09. The Handicaps – 2013, Red Bull

08. Sin Rumbo – 2013, Carson Camping

07. Igloo – 2013, Plaza del Trigo

06. Yo, Estratosferico – 2017, La Carpa Meetin Arts

05. La Habitacion Roja – 2015, Plaza del Trigo (concierto secreto)

04. Disciplina Atlantico – 2016, Burgos

03. Ninos Mutantes – 2014, Plaza del Trigo (concierto secreto)

02. Havoc – 2015, Burgos

01. Maryland – 2014, Plaza del Trigo. The best ever concert I witnessed in my whole fucking life.

Top5 discoveries:

05. Proyecto Solaz

04. The Bright

03. Bestlife (Under Your Seat)

02. Correos

01. Joe La Reina

Accidentally, all of them are of the year 2014. I hope this year's discoveries (Yoyo Banana, Tierra Vertical and Molina Molina) will enter the next rankings successfully passing the test of time.

Top5 of our fails:

05. 1st night of Sonorama 2013 when we tried to enter recinto ferial with our Canon D450 in the bag and they didn't let us go.

04. Our unawareness of conciertos secretos (2013) as there were nobody to tell us about.

03. Wrong place for Rufus T. Firefly (Plaza del Trigo, 2015) in the epicentre of watergun wars.

02. Never being present on all the accompanying events (breakfasts, visits to bodegas, tastings, etc.)

01. Totally missed concierto secreto that followed the aforementioned Rufus' performance - that one with Zahara, Xoel Lopez, Sidonie, Angel Stanich and others.

#Sonorama20. The Report. Part Three

There are some bands whose fans/haters ratio is close to 50/50. This pool of bands is widely known as ‘successful bands’. You know, even some freaky outfits like Ojete Calor or Las Bistecs surely have more fans than haters. But when you start talking about Love Of Lesbian… Indie community is cruel to its former babybirds now flying too high. The commercial success, the recording contracts, the number of gigs per year, the ability to sustain 10000+ crowd – sometimes these things come with their opposite sisters. The most important thing there is – it’s not about envy. There’s some kind of real ‘not commercial/too commercial’ dichotomy: the ones considered 'too commercial' are consequently considered free from any form of artistic aspirations. For me, I’ve got a bent for ‘little’ bands, and one of this blog’s aims is to speak about lesser-known bands. But also I like a lot of commercially viable bands, and, frankly speaking, I don’t feel guilty about it.

11/08/17. The Morning. Locations: Santa Catalina stage, Maria Pacheco, El Charco stage

This Saturday morning Rufus T. Firefly were set to return onstage as 'artista sorpresa' at Plaza Obispo Acosta where the new Santa Catalina stage was arranged. When we came at the place there was only a handful of potential spectators. They were hiding themselves in the shades of the buildings around, as this morning was really hot. But we weren't the last ones to come, and quite quickly the square got full with the people that pressurized us to step into the light. The band partially used the gear of Second who were set to perform here in the next timeslot. Rufus played the [more or less] same set of songs as two days earlier in camping and though they again omitted my favorite song “Demerol Y Piedras” off “Nueve” the satisfaction was 110%. 

Anyway, in the middle of their set I left the venue and made a run to Maria Pacheco stage, where El Lado Oscuro de La Broca were performing at the moment. I had a fear of being too late so this fear forced me to run pretty fast. The Zamora-based quartet played the songs from both of their albums. As loud & noisy as melodic, the strange birds in El Genio Equivocado's roster were successful in transcending their studio shoegaze-on-speed guitar swirl into the live performance. For a couple of songs the band was accompanied by a girl who later revealed to be Maria Mieres, the singer of San Jeronimo whom I like as well. 

When the band completed their set I met with Joan and Rafa (also known as Pin y Pon djs) - the heads of El Genio Equivocado - and then returned to Santa Catalina.

If Rufus got Plaza Obispo Acosta full with the people, Second got it totally overcrowded. The crowd splashed out onto the square’s sidestreets where people were staying without any hope of seeing the band. Fortunately, Tanya managed to secure the great place in two steps from the stage so we were happy to observe the performance from the close distance. Second have got a lot of good songs. They’ve got a lot of great songs. So every Second show is the total pleasure.

When Second's show was over, and the people started walking around to find themselves some beer, we decided to walk away. But when we stepped aside we noticed the guys from Rufus T. Firefly packing their equipment into the van and decided to catch Victor for a photo. But we felt it was the wrong moment to distract him as he looked too loaded with all these pedalboards and other things so we stayed aside waiting for the moment he’d get free. Right before our eyes there was a gap between the vans, and in this gap we noticed another person we’d like to meet and greet: Josete Diaz from Villanueva who stayed at the opposite side of the square. We approached him and hugged him and talked to this nice and friendly person for 15 minutes or so. And what made this moment even greater was the sudden appearance of Javier Ajenjo. Thursday’s night we met him for a brief talk, and he proposed to meet the next day to have a lunch together. But the next day it became apparent that to access him in the middle of the day is rather impossible. I can’t even imagine what amount of calls and messages he gets through the day to keep the festival moving along. Really. It’s huge amount, and our message was somehow lost in this vast ocean. Apparently, Javier also considered it way too optimistic trying to cut an hour at the midday for us, so he asked would it be ok if he reserved a table in the restaurant for us. We said ‘It would be great!’ and he did so. We left Javier and Josete with our heads in the cloud nine.

Then we walked half-round the square to see what’s going on with Rufus. Fortunately, we ran into Victor who walked to the minibus with only a pack of beer in his hand. This moment was right, and we jumped in front of him: “Holaaaa, somos desde Rusia!” De facto he’s one of our favorite musicians standalone, and we’re always happy to see him performing even with other bands (Mucho, Zahara, etc.) When we told him our goodbyes and finally left the Plaza Obispo Acosta, the next POI we had in our schedule were El Mato A Un Policia Motorizado at El Charco stage.

We caught most of El Mato’s performance but we could hardly say we beheld it. Initially we rushed right to the stage to make some good photos, and then started roaming around to find some shade to hide in. But what we really found was the company of Jose, the frontman of Yo, Estratosferico, and his friends Gloria and Alberto. Together we talked for most of the show about different things and rarely paid attention to what was happening onstage.

Suddenly I noticed some persons whose faces seemed so familiar to me passing along in ten yards before my eyes. I couldn’t stand but ran for them to get closer to prove them to be Juan Alberto and Nani from Niños Mutantes. Upon returning to Jose and friends I said: ‘Yeah, that’s really the guys from Niños Mutantes!’ ‘Have you already met them?’ Jose asked. I told, no. And that moment I noticed them returning to our location and standing just in front of us. ‘Do you want to?’ asked Jose. ‘Yes, we’d like to!’ I replied, so Jose walked to them and asked to join us for a minute. We briefly talked and the man who accompanied Juan Alberto and Nani (probably their manager) made the photos on my phone. But something went wrong, and later when we looked into the photo gallery in my LG we saw no photos with Niños Mutantes. What a disappointment, especially taking in mind that we were going to meet them later in restaurant and could repeat the photo session!

The first person we ran into when we entered the restaurant La Cantinaccia was Juan Alberto. ‘We ain’t following you!’- what we could say?!

We felt like we’re stepping into the paradise. Oscar from Delafe right next table to us. Guys from Sidonie just upstairs. Niños Mutantes deeper in the hall. Maryan Frutos, the sister of Sean, passing around. Sean himself… We asked Oscar for a photo, asked Mark Ros and Ramiro Nieto for a photo… Sean Frutos smiled noticing at us at the table. We didn’t ask him for a photo as we’d already made it two days ago.

When we were close to finish our lechazo the doors opened and the guys from Izal all covered with sweat entered the hall. We understood they were today’s concierto secreto.

‘Two years ago, in the VIP zone!’ – Mikel exclaimed, pointing a finger at us when we tried to catch his attention. ‘Sure!’ – we were completely shocked (in the good way) of the fact he remembered us. We tried to tell Mikel that we just wanted to express our respect and love and we didn’t need no photos, but he was like ‘Whaaat, no photos? No way! Hey men, let’s go make a photo with our Russian fans!’

It was a moving moment. It ALL was a moving moment. For such a shy person like me to find myself in a situation like this… I felt my heart breaking free from my chest with my feet off the ground. I asked a waiter for a blank sheet of paper, wrote a heartfelt message to Javier and all the bands there and stack it to the wall there.

11/08/17. The Night. Location: Recinto ferial

We had to omit the actuation of Echo as it coincided with the Viva Suecia performance at much larger venue. Initially I thought that deep, sad and inward-looking music of the Murcian four-piece is not for all and everybody, and I hardly could expect, say, in 2015 that two years later this band would be so embraced by the public. But that’s what it is, and that’s what they deserve for sure. 

Having Facto and Las Flores Azules peeled off, Delafe is still around. He is the greatest performer but all through his show I couldn't escape the feeling the greatest performer was sad. I dunno why but I felt so. 

Then we ran to the VIP zone to observe the mutual performance of Santiago Auseron (Radio Futura) and Sexy Sadie. For me personally, ‘Santiago Auseron sings the songs of Sexy Sadie’ could be much more preferable situation as compared to 'Sexy Sadie play the songs of Santiago Auseron for him to sing' as I’m not the biggest fan of Spanish 80’s rock’n’roll stars. So we escaped the main stage searching for some better life. In 5 minutes we found it at Burgos stage where Kokoshca were performing. This band was one of the previous year’s discoveries for me. Live they were great, the same as their studio incarnation. 

Tierra Vertical became the second biggest discovery for me. I can’t recall now why I was floating around recinto ferial alone, and why I decided to enter La Carpa – but surely it was the moment of blessing, as Tierra Vertical were amazing. As far as I know the guys are in the process of recording right now, and I hope their album will get their live emotion captured. All good bands have some twist in their music that sets them apart from the common pool, and during these minutes in La Carpa I felt like this band has got it.

Berry Txarrak captured us with their groundbreaking music. We occasionally passed along the Aranda stage coming from the marketplace, but stopped and stayed there for the whole set of songs. I have never made my wife to fall in love with post-hardcore, but this Sonorama she sustained two post-hardcore concerts (Willis Drummond and Berri Txarrak) being fully amused with them in the best way possible!

After having some calimocho we headed to the Burgos stage for seeing Eladio y Los Seres Queridos. Eladio Santos and his band didn't play my favorite tracks off "Orden Invisible" but it was no problem as they got a lot of songs to be satisfied with.

Meanwhile, the main stage was under preparation for something special. Earlier we thought the secret show of Los Planetas was being hidden under “Tarta de Cumpleanos” moniker, but when we met JuanMa and Julian from Igloo they told us: ‘No, there would be no Los Planetas’. Nevertheless, there were Los Planetas exactly. The Tarta de Cumpleaños section started from Shinova’s “Volver” as the soundtrack while the stage was covered with the white cloth, and lots of photographs were projected on it from the inside. After the song ending the white cloth fell down, and the well-recognizable silhouettes of J and his partners appeared onstage. After listening to 7 or 8 songs we left VIP zone and headed to Aranda stage to win the first line places for La Habitacion Roja.

For the next hour our only regret was because of the perfect performance of La Habitacion Roja we missed equally great show of Kitai. But it was worth it as Jorge, Pau, Marc, Jose and Jordi were on the peak of their stage form. It was our forth LHR's show and they did it again making us completely happy. Staying right in front of Pau Roca we sent him our remote greetings. Earlier we wrote him a message of love and respect, and he answered hoping to see us on the first line of the audience. And we were there, really!

It was 3 am and only Shinova ahead. They're probably the best band in creating the catchiest singalong choruses #rightnow. As the Next Big Band they're on the verge of becoming 'successful' with all the aforementioned consequences but it doesn't matter when you stand inside the crowd singing along to the best singalong chorus around. And they're the nice guys, we know it, really!
(Unfortunately, we didn't manage to make the good photo of the band as we stood too far).

Avernessus "Azul Terminal"

Avernessus "Azul Terminal" (p)2017 self-released

In the run-up of my visit to La Palma island I've undertaken a brief search for the local bands and discovered a band that exists starting from 1996. Though for the most of their career Avernessus stayed out of the public eye this never prevented them from making interesting music. "Azul Terminal" is their 4th studio album and it presents the band being comfortably located somewhere in between the stripped-down folksy rock of the Canarian pals Mento ("Volar"), the piano-laden arrangements of the Catalan lostlings Cyan ("Camisa", probably the best track off the album) and... Izal??? ("Turkia DF", "Aterriza"). The stylistic fluctuations within the album don't get the listener's attention blurred, so all ten tracks of "Azul Terminal" flow along flawlessly, leaving behind some true gems for your ears.

The best tracks: Camisa, Aterriza, Volar, Aprendiste

BNDCMP

Fcbk

#Sonorama20. The Report. Part Two

When we left Pin&Pon djs’ session at 02:30 we felt almost dead. But after we came to our beloved Kinedomus (surely the best place to enjoy Sonorama) and had a good sleep in the dead silence we felt our batteries fully recharged. So at 12:00 sharp we stood on the Plaza de Sal waiting for the new grace to fall upon us.

10/08/17. The Morning. Main location: Plaza de Sal

Gimnastica were the perfect band to start the morning right. Their songs were melodic, and the band was brimming with positive energy.

Apartamentos Acapulco are widely considered the new hopes of Spanish shoegaze. They even come close to the “new Los Planetas” tag. In the middle of their performance it was slightly spoiled by the problems with the gear but these problems were not so crucial as those for Dorian last night, so the band continued without slowing down. As many other shoegaze bands, live Apartamentos Acapulco sounded louder than on albums. For me they seemed closer to Modelo de Respuesta Polar than to Los Planetas (it’s neither good nor bad as I adore them both).

Then Alberto Y Garcia stepped onto. They were good but this was not our kind of music, so after 4-5 songs we started roaming around the old town. As the most people gathered in Plaza del Trigo, the tiny streets around were empty almost completely, and when we stepped onto another callejon we saw a bunch of people with some luggage. Initially shocked, we recognized the musicians of Leon Benavente in these people. I couldn’t help but rushed to them with my classic ‘sorry men we’re your fans from Russia, we’ve got all your releases physically, could we please make a photo with you!’ They seemed having fun of this situation, and they told us they would be this day’s concierto secreto. We expressed our doubts of being able to attend this as there were so many people on Plaza, and wished them the good journey, as we knew that this day they should fly to Tenerife to take part in Phe Festival.

After this unexpected but extremely pleasant encounter we returned to Plaza de Sal to see Willis Drummond. Willis Drummond are from the French part of Basque Country but they’re not considered foreign band as they are singing in basque and are managed by Panplona-based booking agency Black Izar having many concerts all across Spain. The band played the highly energetic show which I summed up with the words: "The best post-hardcore possible". Now I can only repeat that.

Fortunately, we managed to find ourselves a place on the overcrowded Plaza del Trigo to see Leon Benavente. They proved one more time that they are probably the best live act of Spain #rightnow. They’ve got the magic.

10/08/17. The Night. Location: Recinto ferial

Another band to have the same kind of magic (though staying on the lower level of publicity) is Yo, Estratosferico. The Guadalajara-based quartet mixes guitar-driven indie rock with post-hardcore angularity and 2nd wave emo dramatic tension to the perfect results. Additionally, these four musicians are the great performers. And the fact that rare person knows about it causes me real physical pain. ‘We’re just trying to get better with every show’ – Jose told us when we met him the next day. But even if Yo, Estratosferico are not intended to gather thousands, they deserve much more spectators than they got now cos they are not another faceless band.

Ivan Ferreiro presented his most recent release “Casa” ((p)2017 Warner). As for me, his two latest albums (“Val Minor – Madrid” and the aforementioned “Casa”) contain good songs but no hits comparable to “Turnedo” or “NYC” (with possible exception of "Pajaro Azul"). So the show was somehow the reflection of it. It was 100% alive and kicking - but I'm still dreaming about Ivan's concert that would include the rocking numbers like “Cancion Humeda” or “Paraisos Perdidos”.

After having some wine in VIP zone listening to Coque Malla who was performing on Aranda stage we decided to skip the Sidonie’s show (as the considerable crowd seemingly hard to enter already gathered there before the main stage) in favor of having ourselves more wine and listening to it from afar. Then we trod our path to the Burgos stage. At the moment when we came Flamingo Tours were finalizing their set. On the first line right at the security bars we met Rodrigo Valiente from The Trunks. I warned him that I’m going to shout all the Radiohead tracks out as loud as I can, and as I got no musical voice it might cause him pain in the ears. He told me it’s OK – but in the middle of the set he disappeared without saying anything, so I still have the fear I annoyed him to the core with my crooked screams.

Paranoid Android was some kind of coverband supergroup consisting of the members of Igloo, Eladio y Los Seres Queridos and Rufus T. Firefly and playing the songs of “OK Computer” (in fact their program included numbers from “Pablo Honey” and “Kid A” as well). All these people gathered onstage could make it too chaotic to perform so the show was divided onto some sections led by different bands. It started with Igloo, then Eladio Santos and his band stepped into with their two-song sequence. After that Victor and Julia from Rufus appeared onstage to play some songs including “Idiotheque” from “Kid A”. The show was finalized with Igloo covering “Let Down” and “Creep”. All three bands did the best they could creating one of the most interesting events of the fest.

The next point of interest in our schedule was the performance of Niños Mutantes but when we escaped the Burgos stage we saw the largest crowd we had ever witnessed before the second-rank stage, so it was apparent we had no chance to see Niños Mutantes from any proper place. Disappointed we went to VIP zone to have ourselves some beer or calimocho (and we had it, yeah!) and to wait for the moment when we could go for gaining two good places before Xoel Lopez in fair competition with other festivaleros. Right after Niños Mutantes went offstage, and the whole crowd started migrating to Ribera, we came to the far left of Aranda stage and settled down there in couple of meters from the security bar. Not ideal but quite appropriate.

As we were intended to wait here more than 45 minutes, I escaped the location to see what was happening at Burgos stage where Capsula were paying their homage to the late David Bowie. Capsula is another band whose live performances you shouldn’t miss. I stayed there for 15 minutes, and these 15 minutes were fantastic.

Earlier it was declared that Xoel Lopez would play the set of songs based on his Deluxe past. In fact it was 50/50 Deluxe and Xoel. Everybody would expect him to perform "Que No" and "Historia Universal" - what he surely did. Other ones - like "Cielo de Madrid" and especially "See You in London" were the relative surprises. Xoel performed being backed by the full band that included trumpets, sax and percussion. Closer to the end of the set he stopped singing and revealed that 20th anniversary coincided with his own 40th birthday now. While he was talking Javier Ajenjo entered the stage and made his heartfelt congratulations to the old friend.