Miguel Bosé spends a white night at the Palau Sant Jordi

BarcelonaIbizan white on his dress: this is how Miguel Bosé appeared yesterday at the Palau Sant Jordi, with a reduced capacity and the stage further back on the dance floor than usual. He wore white and just sang. Owner, the piece that gives title to his latest album and also names the tour. Owner, of loving, not of bossing. "The word that can do everything," he said. Charm with their voices amplified by effects. And like at Maná's concert on Sunday, the side video screens were vertical. The introductory group ended with three backing singers also dressed in white, Book of love, also from the latest album.

Love, yes, but what kind of love? It wasn't even a year ago when he published OwnerMiguel Bosé explained that it was an album born of fatherhood. Being a father, he said, makes you "much more tolerant" and "opens the doors to a spectacular garden." He also recalled that on all albums there are always songs inspired by "the muse of the news," such as If possible, the song he closed the show with yesterday before the encore. But the depth of paternal love and political awareness carry little weight live, because a superficial aesthetic prevails. Captain Thunder's son, The musicians, dressed in white, became visible and participated in a kind of ethereal choreography: they followed Bosé between the columns, like characters adrift in a dystopian garden, everything too white, too empty.

The stage effect, with the singer playing hide-and-seek, distracted the audience's attention, who, despite applauding, did not show enthusiasm until the climax of the performance. Little girl, and especially when pop began to push aside more atmospheric themes. Of course, the less powerful the instrumental apparatus, the more risks Bosé took, singing ballads like Only yes and I would eat your heart challenging tuning protocols.

Dismantling 'Seville'

His voice trembled, and perhaps that was what he was looking for, in the first bars of Seville, received with affectionate shouting but performed with deconstructive intent, mistreating the melody, as if Bosé wanted to punish the song: there was no love here. If you don't come back, well defended on the return leg, and Like a wolf, but the concert, which lasted up to two hours, lost steam and only picked up in the final part of each song, which is when the audience took the reins to sing over the voice of an uncommunicative Bosé and the encores followed the same script: the voice always looking into the abyss and the audience's desire. Bandit and I will love you.