Las montañas sonaron en Medellín con el Breakfest

Texto y fotos por: Alejandro Echeverri  

Breakfest

El pasado 3 de octubre se celebró la tercera edición del Breakfest, una propuesta que ha tomado mucha fuerza en la ciudad de Medellín como alternativa musical a formatos con mucho más tiempo como Altavoz, el cual conjuga géneros como el metal, reggae, ska, hip hop y punk, siendo el caso del Breakfest un festival que reúne propuestas indie y electrónicas, principalmente, con el añadido de algunas en géneros como el hip-hop o el reggae.

Es nuestra segunda asistencia al festival y encontramos más protagonismo en el espacio, es decir: las zonas verdes llenas de cojines, puffs, colchones y hasta estibas de madera. Estos elementos, junto con las zonas verdes y un sol cálido crearon una atmósfera en donde era imposible no sentirse feliz. Ésta es la zona “El bosque” en dónde se ubicaba en Escenario Huawei, tarima principal de todos los actos electrónicos que se presentaron. Su contraparte era el escenario Tigo, el cual se encontraba ubicado en la plazoleta principal del parque, justo entrando al mismo.

Nuestra llegada comenzó al explorar los alrededores para dar un vistazo rápido y luego para ver a nuestro primer artista: Árbol de ojos, la cual, personalmente no había explorado previamente (y lo cual, a opinión personal de éste servidor, me parece uno de los mejores motivos para ir a un festival: conocer nuevos artistas).

Camilo Maldonado

Considero muy grato ver que una banda, a pesar del casi inexistente público (en ese momento la plazoleta no contaba con mas de 30 personas, por dar un estimado) dio todo de si para ofrecer un show a la altura. Canciones comoPolíglota suenan con una contundencia increíble (muchísimo más en vivo), al igual que Uno es mejor que dos, con su mood un poco más bailable. Rock n’ roll crudo en donde Camilo Maldonado, su frontman, es capaz de transmitir esa energía a través de su particular voz y de sus movimientos en escenario, algunas veces frenéticos, otras veces armónicos (bailando al ritmo del piano). Impecable show que mereció ser apreciado por muchos más asistentes.

Árbol de ojos

Al terminar esta presentación y nos desplazamos hacia el escenario Huawei, en donde iniciaba No Regular Play, dúo de Brooklyn que se etiquetan como “Hipster crossover“. ¡Se mandaron un set tremendo! El mood que son capaces de generar es algo extremandamente contagioso: bailable completamente, beats “relajados” y un detalle que, a observación personal me pareció increíble: el hecho de que Greg Paulus toque con una trompeta (y haga voces también en algunas pistas) sincronizándose perfectamente con Nick Debruyn, su compañero.

No Regular Play

Una vez dentro de ese escenario era casi imposible salir sin tener la sensación de que a uno lo estaban extrayendo abruptamente de una “continuidad” creada por la música que éste par tocaron en vivo. Es una propuesta para seguir muy de cerca.

No Regular Play

Después de “mover el esqueleto” durante más de una hora hicimos parada para comer y recargar energías para seguir el resto de noche (que pintaba prometedora).

De regreso nuevamente al escenario Tigo nos encontramos con los últimos minutos de la presentación de Alcolirykoz (“Los Ninjaz“, como también se hacen llamar). Aunque sólo estuve en las 3 últimas canciones, ellos, en particular tienen un show bastante completo: MC, DJ, batería y trompeta. Es muy grato encontrar bandas como ellos: llevan su género a otros límites. Con eso último me refiero a que el hip-hop siempre tiene más protagonismo en la lírica que en la pista (que suele ser un sample que se repite), incorporando nuevos instrumentos y particularmente dándole un estilo narrativo a las letras, casi que “contando historias” de las realidades vividas.  Realmente marcan una diferencia respecto a lo que se produce en el país en este género.

Alcolirykoz

Una vez finalizaron, nos movimos al escenario Huawei, encontrándonos sus alrededores con más asistentes, esta vez bailando al ritmo de Mavidip & Steinlausky, un trío con un elemento parecido al de No Regular Play: voz, DJ y guitarras. La palabra que mejor puede describir su música es: “infecciosa”. Una hora de deep house con raices funk, dotadas de mucha mas personalidad con la voz camaleónica de Esteban Steinlausky, que mimetiza su espíritu profundo con un falsete bastante particular en ciertos puntos. Muy recomendado darse una vuelta por su Soundcloud y conocer un poco de lo que nos ofrecieron en vivo.

Mavidip & Steinlausky

Regresamos nuevamente al escenario Tigo Music, siendo éste el último movimiento de tarima que tuvimos en el festival y nos encontramos con la presentación de Gondwana, reggae Chileno bastante grato de escuchar. La banda tiene todo un arreglo de músicos: saxo, teclados, bajo, guitarra y batería. El reggae es un género bastante particular porque tiene el poder de conectar bastante bien con el público, y eso hicieron ellos: muchos asistentes corearon las canciones (prácticamente todas), siendo los puntos álgidos de la presentación “Felicidad” y “Could You Be Loved?“, cover de Bob Marley con el que cerraron su presentación. Un elemento visual llamativo fueron unas cacatúas luminosas que se encontraban al fondo de la plazoleta, ondeando sus alas (siendo operadas como ‘títeres’).

Gondwana

Tras poco más de media hora de espera, buscando estar lo mas cómodo posible para descansar y tratar de estirar los pies para aguantar el resto de la noche, salió a escenario Movement. Ésta banda en particular fue una de las que personalmente quería presenciar en vivo, después de haberlos conocido este año con su canción Us. Algunos asistentes al concierto de Foals el día anterior en Bogotá los catalogaban como una banda, que si bien es bastante interesante, quizás no haya sido la indicada para abrirle a ellos, dada la diferencia de “onda” que manejan.

Movement eclipsa, y con esa palabra me refiero a que, una vez están en escenario todo se torna oscuro (sí, estando de noche incluso). Las luces del escenario fueron casi inexistentes durante los 35 minutos que duró su presentación, cosa que hizo que nos conectáramos con ellos. Personas a mi lado con los ojos cerrados durante la duración de sus canciones, dejándose llevar por la voz profunda y envolvente de Lewis Wade, sólo existían ellos y la música, el resto se diluyó en el soul ‘electro-nostálgico’ en el que nos inmiscuyeron. A pesar del poco material que interpretaron, fue de gran impacto lo que ofrecieron en 35 minutos, suficientes para convencer al público de qué se trataba el tema.

MOVEMENT

A manera de apartado: ¿Qué tienen en Australia que se producen cosas tan brutales? ¿Les dan algo en el agua? La electrónica de ese país es pionera (Cut Copy o Miami Horror, sólo por mencionar un par de ejemplos) al igual que el rock con influencias psicodélicas.

Su horario estaba programado de 9:30 p.m. a 10:30 p.m., pero acabaron a las 10:10 p.m, lo cual nos dio una tregua de 50 minutos en los que pudimos volver a recargar energías mientras preparaban el stage, conversando de las presentaciones anteriores y repasando las fotos logradas a Movement (prácticamente ninguna rescatable por la ausencia de luz y el movimiento ‘natural’ de mi mano y de la multitud que me rodeaba).

Bag Raiders

11:00 p.m. y  llegó la hora de Bag Raiders, de los que personalmente sólo sabía el nombre. También australianos. Esto fue una de las cosas más particulares que me haya pasado alguna vez (y sé que no fue sólo a mi): estar en la tranquilidad, casi en el ensimismamiento que dejaba como estela el show de Movement a pasar a movernos como locos con el synthpop pegajosísimo con el que llegaron estos señores. Nos sacaron de ese bajonazo y nos dieron un rush impresionante desde el primer segundo de su presentación. Inmediatamente me sentí un año atrás, en el Breakfest anterior cuando Miami Horror se presentó: misma vibra alegre, cálida, bonita y agradecida que es imposible no sentir con ellos. Canciones como Shooting StarsyWaterfalls nos hicieron vivir una hora en dónde podíamos dar rienda suelta al instinto bailable, o intentar corear las canciones. Fue un show memorable en donde los sintetizadores y la percusión electrónica acapararon la atención. Banda que hay que repetir, sí o sí (en 2014 me dije lo mismo con Miami Horror y en 2015 lo logramos en el Festival Estéreo Picnic).

Bag Raiders

Finalizó su presentación y en ese momento todos comenzaron a guardar sus lugares celosamente: nadie se iba a mover, los headliners del festival se presentarían en media hora, la cual fue eterna. Curiosamente su salida era a las 12:30 a.m y salieron a las 12:40 a.m., hora propuesta de salida para su presentación en el Royal Center, el día anterior.

Foals

Después de varias “falsas alarmas” de salida de la banda todo el público comenzó a pedirlos: “Foals! Foals! Foals Foals Foals!“. El clamor se hacía efectivo un minuto después: miembro a miembro, siendo el último Yannis, saliendo al escenario, tomando sus posiciones e inmediatamente comenzando su descarga con “Snake Oil“. ¡Sin tregua! todo el mundo comenzó a moverse. En ese momento me llegó el recuerdo fugaz de cómo los vi en el Festival Estéreo Picnic 2013 y me dije a mi mismo: “la diferencia es abismal“. En efecto lo era: un Yannis totalmente seguro de si mismo, con su actitud irreverente pero a su vez con esa fuerza y ese ímpetu que hizo que inmediatamente todos nos quedáramos enganchados… y apenas estábamos comenzando.

Olympic Airways“, “My Number” y “Mountain at my Gates” fueron la tanda que siguió y no nos hizo bajar de tremendo rush. La contundencia, la crudeza y la irreverencia fluyeron por Yannis y compañía, creo que es imposible describirlo con otros calificativos y de hacerlo así entraríamos a un plano mas técnico y perderíamos la verdadera esencia de un show en vivo de ellos.

Foals

Después de esto Yannis comenzó a dirigirse al público con palabras aprendidas “de rigor” para la visita: “Muchas gracias” y  “Parceros” fueron algunas que le dedicó a su público. “Baloons“, “Give It All” y “Providence” fueron las que siguieron, siendo la última protagonista de algo bastante particular: Yannis arrojándose al piso con su guitarra y el micrófono con su base. Muchos nos miramos y dijimos: “¡Está loco!“. Pues bien, cuando se paró el micrófono se enredó y se desconectó, entrando en escena uno de sus roadies a cuadrar el problema pero con la negativa de Yannis, el cual comienza a meter mano en el proceso, varias veces, sin lograr recuperar el mic. En background el resto de integrantes siguen ejecutando la canción mientras el frontman se notaba bastante enojado por el tema. Favoreció el hecho de que “Providence” tiene un solo, bastante largo y sin voz, tiempo en el cual se terminó de ejecutar la canción y de recuperar el sonido para el elemento en cuestión.

“Spanish Sahara” y “Late Night” cumplieron su cuota de sentimentalismo mientras nos recuperábamos de ellas con “Inhaler”. De ahí el encore, y qué mejor manera de finalizar que con “Hummer”, “What Went Down” y “Two Steps, Twice”, no sin antes celebrarle el cumpleaños al baterista Jack Bevan : 30 años celebrados con una piñata que él intentó romper con las baquetas de su batería, posteriormente arrojándola al público.

Creo que sobra decir cómo terminaron las cosas con “Two Steps, Twice”: tratando de contener un pogo que se armaba por sectores, pero que no terminaba de tomar forma (dos o tres personas). En definitiva, un show maravilloso, en el mejor punto de sus carreras, muy diferente a lo que se vio en el FEP 2013 y con RHCP en 2011.

Con eso acabamos casi 13 horas de una experiencia que ha enriquecido la escena alternativa de Medellín de tal manera que, sin duda alguna hará que el festival gane muchos mas adeptos conforme pasen los años. Una experiencia que, si se la ha perdido en sus tres ediciones, debe vivirla para el próximo año.

Desde aquí podemos decir: ¡Las montañas sonaron en Medellín! Nos veremos en 2016…

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