Eleven (and several more) reasons why Madrid embraced aitanamania

Aitana concert in Madrid

Aitana concert at the Wizink Center in Madrid. EFE/Rodrigo Jimenez

Javier Herrero |

Madrid (EFE).- In a music market as heteropatriarchal as Spanish has traditionally been, tonight Madrid showed with its aitana-mania that there is a huge space to welcome national figures in the ranks of Anglo-Saxon divas who are getting Strong on a proudly feminine and pop vibe .

Say these are the screams of passion that a young Catalan ripped out tonight from the thousands of women, teenagers and girls (and sometimes men) gathered at the Vizink Center, more than 15,000, according to the organization, during its third invasion of the place in less than a year (second in a week) and, as in previous times, with a sign “No tickets left”.

Aitana concert in Madrid
Aitana in concert at the Wizink Center in Madrid. EFE/Rodrigo Jimenez

This is the last gig! I’m sorry because it’s been a wonderful few months. What an illusion to finish it here in Madrid, which I also feel like my home!” the artist said before the reception received at the end of the “tour” in Spain, before heading to Latin America to continue her upward journey. .

Aitana Ocaña (Barcelona, ​​1999) left OT 2017 in second place, reaffirming the unwritten law that this is the best position to succeed in this industry. At 23 and with two albums on the market, she is one of the most important women in the national music industry today, turning almost everything she touches to gold (or platinum).

Aytana is pure present and this “11 Reasons More” tour is proof of that as a supposed addition to the “tour” which ended last December and which, again, with almost all of its seats sold out on the main stages of the country, lived up to his. existence in a repertoire that is only growing.

In fact, of the roughly twenty cuts that made it up, at least a third saw the light of day last year (the most recent, Again, this Thursday). Many of them will be previews of his third studio album, and a few more come from his good ear and his confidence in collaborating with other colleagues as an engine for mutual growth.

This is one of the reasons that could explain the young Catalan diva’s Madrid ardor and frankness and charisma that are the hallmark of the House, but there are other reasons, such as a gesture of respect for her audience, which means that her Concert began exactly at the appointed time. time, at 21:30.

This was done with a spectacular intro, between the crackle of the spotlights and some stunning projections that covered Aytana with the aura of a great star, which was also helped by a stage production larger than the style of national artists, with light indication. to which they moved their entire performance in cuts such as “Resilient”.

Aitana concert in Madrid
Aitana in concert at the Wizink Center in Madrid. EFE/Rodrigo Jimenez

Very talkative between songs (probably too much for the best rhythm of the concert), she never stopped commenting on anecdotes and acting like a good hostess for her guests: Sebastian Yatra (with whom she sang “Las Doubts” and Corazón). sin vida”), Marni (“Your ID photo”), Ptazeta (“You want”) and, almost at the very end, a magnificent climax with Zzoilo (“Mon Amour”).

To start the evening, she chose Formentera and did so accompanied by a group of five musicians, trying to make herself known in the age of canned music, if only because of the economic efforts in favor of some professionals who suffered a lot during the pandemic break.

In the same vein, Aytana stands with a microphone in her hand without sound makeup for her voice. Just as she was known in “Operación Triunfo”, she comes out and sings to make you fall in love with her timbre full of color, especially in slower passages like “With Honey on the Lips”.

It’s true that his choreographic difficulties keep showing up, but even that makes him strong when he uses honesty. “Thanks to all my dancers for helping me find moves I felt comfortable with,” he said towards the end of the concert when he remembered his ankle mishap.

This desire to improve was again evident when he confessed his difficulties with the piano to an audience, and even so he sat down at the keyboard to weave the acoustic opening for “Berlin”.

In addition, in choreographed kisses on the subject, she made it clear that she was interested in making sexual diversity visible, and with “Ni una más” she tried to fight female inequality, for all reasons that, to paraphrase one of her most famous topics Keep in mind that Madrid promised him out loud: “I will stay.”

Web Editing: Rocio Casas

Entrance Eleven (and several more) reasons why Madrid embraced aitanamania was first published in EFE news.

By Peter Kavinsky

Peter Kavinsky is the Executive Editor at