Aitana invokes the power of the superstars in Barcelona

The good run of Catalan artists at Olympic venues continues. This year, after Rosalía filled the Palau Sant Jordi four times and El Último de la Fila played the Lluís Companys Olympic Stadium twice, now it is Aitana's turn, with everything sold out for four concerts at the Palau Sant Jordi: the first one this Friday and the other three on September 5, 7, and 8. And in October, Oques Grasses will say goodbye with the feat of four performances at the stadium.

Aitana was received with the usual clamor, the shouting that foreshadowed a night of karaoke and total devotion to the diva by a mostly female audience, and with a strong presence of the color blue in the wardrobe, just as proposed by the chromatic code of the tour for the album Cuarto azul. Seven years have passed since Aitana's first concert at the Palau Sant Jordi, on November 3, 2019. Back then, the singer from Sant Climent de Llobregat sang before 9,000 people (the venue in reduced format) who witnessed an emotional artist who was just graduating as an aspiring star. Now, more than 15,000 people (with seats on a third of the floor) watch her at the same Palau Sant Jordi as a consolidated artist with more than 21 million monthly listeners on Spotify (only five million fewer than Rosalía).

The concert does not have the excessive magnitude of the one she held at the Olympic Stadium in the summer of 2025, but it invokes the power of pop superstars: theatrical format with a single stage but different scenic spaces (such as a staircase and a room with a bed), minimalist sensuality for all audiences (without the raw intensity of other divas), a large choreographic team, three screens, video cameras following Aitana around the stage, four musicians in a dimly lit corner, and the goal of turning the Sant Jordi into a mega-disco and at the same time a place for the most intimate confessions. However, inefficient sound quality marred some of the show's songs because the voice was drowned out by the noise coming from the speakers.

"Good evening, Barcelona. You have no idea how thrilled I am to be here," she said in Catalan before switching to Spanish to remember her first concerts in the city, talk to some spectators, and introduce No te has ido y ya te extraño, a concession to the past in a repertoire dominated by tracks from Cuarto azul. Although she maintains a certain interpretative coldness, as if consciously avoiding descending into dramatic hells and rising to the most exultant heaven, Aitana manages to establish different intensities of connection with the audience. Sharing with the crowd the epic nature of the melodic song in Vas a quedarte (during which she walks around to be admired) and the intimacy of pieces like Desde que ya no hablamos (which she goes down to sing near the front row of the audience) and Cuando hables con él,after which she becomes a tropical house diva in Los Ángeles to reclaim the enthusiasm of key hours at the club. This is the nocturnal and festive Aitana who means business, as in Mon amour and Las babys (the version of Saturday night by Whigfield), two revivals from the Alpha album that are discogym fuel, as the public demonstrated, including the people she let come up on stage to dance. Aitana has the favor of nightclubs, which project the songs in contexts of euphoria, which is exactly what she pursues in the most frantic parts of the concert, such as AQYNE, Ex ex ex and the confetti rain of Conexión psíquica.At other times the connection is made through melancholy, such as in 6 de febrero (the wounded romanticism of La Oreja de Van Gogh with autotune), the song with which she opened the concert, or through the confession of First World problems as happens in the bitter Superestrella (a mirror of Shakira to reflect on the difficulties of falling in love with a pop diva). By the way, the opening act was the Puerto Rican Gale (Carolina Isabel Colón Juarbe), co-author of Superestrella and other Aitana songs like Cuarto azul together with the Argentine producer Nicolás José Cotton and Aitana herself. In addition to her own songs, Gale sang a version of La playa by La Oreja de Van Gogh. Set theory applied to pop.

The narrative and the conceptual device

As a pop star, Aitana has the narrative, built in the documentary series Metamorfosis, in the conceptual device of the album Cuarto azul and in a live show that evidences hours of physical and mental dedication and a deployment of resources that is quite ambitious. She conveys a lot of confidence on stage, far from the emotional vulnerability that accompanied her in 2019, although she plays with the paradox when, during the performance of the song Cuarto azul, which she does stretched out on the bed licking her wounds, she climbs into the ballad to explain that she feels insecure and vulnerable: "No quiero viajes entre las estrellas / Yo nunca me consideré una de ellas", she sings at a Sant Jordi that rewards her with the ovation reserved, yes, for stars, and which will be deafening when at the end of the concert La chica perfecta, Conexión psíquica and, of course, Superestrella play.

Aitana also has sponsorships from global brands and a good collection of iconic images, such as her participation in the celebration of the Spanish national team that won the soccer World Cup. Furthermore, she shows a banal prudence in her sociopolitical statements. She has everything to be a superstar of 2026, despite the irregularity of the repertoire and the coldness she exhibits during a good part of the more than 100 minutes of the concert.