of the charisma of Diego Torres with a special moment to the new version of Los Nocheros

Three moments of the seventh moon of the Cosquín Festival 2024 They serve as a sample of the artistic breadth that was shown on Friday night and that is being repeated in this 64th edition of the great meeting of our popular music: the exquisite sensitivity of Raúl Barboza, the friendly and celebrated pop with some pearls in the debut at the Diego Torres festival and the celebration of Los Nocheros with their greatest hits 30 years after their consecration, in its renewed format now without Kike Teruel.

Let’s start at the end, with a show by the now Salteño trio in which they put together a repertoire that included their greatest hits, in tune with the anniversary that marks 30 years of their consecration at the festival, in 1994.

“Thank you for letting us be once again in the temple of song” were the first words of a Mario Teruel who seemed highly moved. No wonder: after the departure of his partner La Moro and his father, came the departure of his brother Kike from the band in the middle of the year and the recent announcement of the reunion with Jorge Rojas. A carousel of feelings that poured into this celebratory performance like they didn’t have in Cosquín a while ago.

Regarding Kike’s absence, it must be said that the group was able to make up for him perfectly artistically. The voices of Álvaro Teruel and especially Rubén Ehizaguirre sounded very forceful so as not to give rise to any indication of the lack of the historic “night room.”

The same thing happened with the backing band, which was heard seamlessly and deepening that rock sound that characterizes it. The great novelty was the appearance of a three-voice choir that at times managed to be that necessary support and at other times upset more than one with the “soulero” arrangements for the chacareras.

Just as Cacho Tirao did presenting those young nocturnaros on stage more than 30 years ago, in this case these now mature Nocheros gave up the stage in two moments of the night so that the Cordoban Sin Limites and the Catamarcan Carafeo could show their stuff. A good gesture that they have been repeating in recent years and that other convening artists could imitate.

Los Nocheros presented themselves with the new trio format, now without Kike Teruel but with a three-voice choir (Carlos Romero / La Voz)
Los Nocheros presented themselves with the new trio format, now without Kike Teruel but with a three-voice choir (Carlos Romero / La Voz)

Diego Torres, with the best vibes

Diego Torres’ debut in Cosquín had all the seasonings, but above all what caught attention was the enormous connection he achieved with the square with anecdotes, jokes and many face-to-face greetings. “It is a great honor to come to this festival where my mother sang more than 40 years ago,” he recalled at the subsequent press conference.

Together with his band that showed an impeccable sound, Torres reviewed songs from throughout his career, including megahits highly celebrated by the public such as Try to be better or stainless Hope color.

The great expectation was placed on the “folkloric” block that the singer and actor would perform. Two fragments of zambas icon like Balderrama y Alfonsina and the sea while the artist remembered musical peaks at his mother’s house with the visit of Ariel Ramírez or Mercedes Sosa herself. “When La Negra came it was a party because we knew that the next day we would miss school,” he said with humor on stage and in the subsequent conference.

Diego Torres with Facundo and Miguel Toro, with whom he performed Zamba para vivirte, the same one he shared with Mercedes Sosa in Cantora (Carlos Romero/La Voz)
Diego Torres with Facundo and Miguel Toro, with whom he performed Zamba para vivirte, the same one he shared with Mercedes Sosa in Cantora (Carlos Romero/La Voz)

Speaking precisely about La Mecha, one of the most emotional moments happened when Facundo and Miguel Toro were invited to the stage to perform Zamba to forget youwhich Torres recorded as a duet in Singer. Then he would tell of his meeting with Daniel Toro, author of that zamba that became one of the most sung in recent years.

In the rest of his presentation, the singer had it all: he made football analogies, he received two local ponchos (one thrown from the audience and the other an official gift), he sang with a child who came up from the audience, he shouted ” Cosquín here” at the request of presenter Marcelo Iribarne and then greeted a good part of the audience with dedication and closeness. “They love me more than at home.” he joked. He may or may not like his music, but the truth is that Torres felt honored and left his mark on the festival. Will there be a return?

Moment of total tenderness: Diego Torres brought a child up to sing together in Cosquín 2024 (Carlos Romero/ La Voz)
Moment of total tenderness: Diego Torres brought a child up to sing together in Cosquín 2024 (Carlos Romero/ La Voz)

Opening with past, present and future

The proposal with which the official Ballet paid tribute to 40 years of democracy is truly worth highlighting. A dance performance played, to the rhythm of a new version of Cosquín starts singing in this case with electronic touches and mixed with fragments of speeches by former president Raúl Alfonsín and even a moment of rap and beatbox led by two young Coscoínos (Jano Olmos and Facundo Brossard). A bold and vindictive bet.

“My heart was always in folklore,” were the first words of Paz Martínez, the artist in charge of opening the seventh moon with an allusive hymn like captive moon. Immediately, the singer and author of some of the most recognized songs in popular music recalled his time in Los Cantores de Rosario, the group that recorded the first Hymn to Cosquín.

Although the public celebrated several of the gems that the great composer retraced (You give me more every day, What irony in a quartet style evoking Rodrigo), there were some disconnections in the band that overshadowed the show a bit. Even after winning the encore with popular support, the interpretation of When my soul hurts chosen to close left a bittersweet taste.

Raúl Barboza, pure sensitivity

This leader of chamamé in Europe returned to the festival to captivate as is his custom. He went through different coastal pages masterfully accompanied by Nardo González on guitar and Cacho Bernal on percussion.

La perlita was a waltz that he heard when he arrived in Paris “and that the French thought was by Edith Piaf” that had actually been composed by an Argentine friend of his father. The theme is Let no one know my suffering and the author, Ángel Cabral. Sublime moment.

The day was completed with the southern singing of Lucía Ceresani, the recurring but effective vocal resources of Guitarreros, the great performance of Federico Sosa from Mendoza (winner of the Pre Cosquín as a malambo soloist) and the Postcards of Santa Fe, with a beautiful evocation of the Paraná River, both in music and dance.

Cosquín continued with a lot to offer.

The post first appeared on www.lavoz.com.ar

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