May 14, 2022 2:35 pm

From Queen in Vélez to Charly García in Ferro and from Divided in the Beagle Channel to Metallica in Córdoba, the shows that made history one summer

If you know: everything that happens in summer is lived with more intensity and in terms of shows The visit of Queen with Freddie Mercury, the Charly García show in Ferro in which he debuted as a soloist and Metallica in the now-defunct Orfeo de Córdoba remained for history, among many others.

In summer, the romances are more passionate, the food is more tempting and even the most trivial fun is the center of endless anecdotes that will be repeated ad eternum in nostalgic winter gatherings. Perhaps it is the heat that stains everything it touches with hedonism. Perhaps it has more to do with the fact that we associate summer with vacations (although in reality we continue to work or study the same as in May) and obligations are relaxed: the truth is that any event that takes place between December 21 and the end of February ( March is still summer, but the predisposition is already different) it will be, by nature, more vibrant.

Rock concerts do not escape this generality. The atmosphere of communion and collective celebration is enhanced by high thermal sensations (not to mention if there is a refreshing drink circulating) and, if the music is good, the epic will be inevitable. There are many shows of summer seasons that were recorded in the collective unconscious: here are five of the most remembered of those that took place in our country.

The visits of international rockers to Argentina until the arrival of Queen they could be counted on the fingers of one hand … and there were three left over. Santana had performed at the old San Lorenzo Gasometer in 1973 and Joe Cocker had given three shows at Luna Park in ’77. And voila, that’s it. Under such conditions, how could one of the greatest bands in the history of world rock not pass through these lands to revolutionize the local melomania?

The businessman Alfredo Capalbo signed the British group to offer five performances in the country between February 28 and March 8, 1981. Three times they performed at the Vélez stadium, once at the José María Minella in Mar del Plata and once more in the Giant of Arroyito Rosario.

Queen was in for a great time: she had just come from editing The Game (with hits like “Crazy Little Thing Called Love” and “Another One Bites the Dust”) and the soundtrack of the film Flash Gordon. The country, on the other hand, was heading for another of its crises: Roberto Viola was preparing to assume the de facto presidency at the end of March and his economic policies would lead to a brutal devaluation. The fresh memory of that emotional ending with “We Will Rock You” and “We Are the Champions” remained as a meager consolation.

Ok, an international band like Queen could fill a stadium (or five), but could a local musician do something similar? The only one capable of approaching that summons was, obviously, Charly garcia, who by 82 was the great figure of Argentine rock even before starting his successful solo career (just that year he published the soundtrack Angelic pubis and the solo debut proper, Going from bed to living room, but the hits of Modern clicks Y Piano bar would arrive with the running of the eighties).

For the presentation of his first two post works, Serú Girán bet on a great event: a show on a field, in this case that of Ferro Carril Oeste (color data: it was the club that the Metropolitano won that year), on 26 December 1982. Argentina had come from painful months: the Malvinas War had claimed the lives of hundreds of compatriots and the economic crisis that had triggered the devaluation proposed by Viola’s minister, Lorenzo Sigaut (the author of the infamous phrase “He who bets on the dollar loses”) had not subsided. That is why that Garcia concert was experienced as a great collective catharsis that, in addition, raised the technical standard for national popular music: unforgettable those projectiles that crashed on Renata Schussheim’s scenography during “No bombardeen Buenos Aires”.

Thanks to Charly, Soda Stereo, Virus, Los Violadores and more, Argentine rock was in the mid-80s in full expansion stage. Therefore, the natural step was to jump on this growing demand and take advantage of the warmth to bring music to the arena. Thus was born festival Rock in Bali, which had among its organizers the former Vice President Amado Boudou.

In the Bali Beach resort, in Mar del Plata, on the way to Santa Clara del Mar, about four thousand people gathered in January 1985 to witness the shows of GIT, Fito Páez, Soda Stereo and Bus. The successful debut laid the foundations for an overpowering sequel: On January 23 and 25, 1987 (the date of the 24th had to be postponed due to rain) Rock in Bali had its most remembered edition, the one in which Los Argentinos, Cosméticos, Fricción, David Lebón, Sumo y Virus (first day) and Class 65 ′, La Sobrecarga, Andrés Calamaro, Los Violadores, Los Enanitos Verdes and Soda Stereo (at the closing evening).

Beyond the musical, it was recorded in history that dispute between Sumo and Virus for the supposed presentation of Luca to the Moura band with the nickname “little bitches”. What the Italian would have actually said was: “And now the… who’s coming? Virus! “, And then make a silence and say” what happens … we are all p …, did you see? We are looking forward to it ”.

Another decade, another Argentine crisis, another great recital: the Secretariat of Culture and Communication of the administration Fernando De La Rúa proposed to take national rock throughout our territory (Argentina en Vivo), and to launch the mega event he signed Divided for a historic show in Ushuaia.

The trio – which at that time had Jorge Araujo as drummer, obviously together with Ricardo Mollo and Diego Arnedo – performed before some three thousand people and in front of the imposing landscape of the Beagle Channel and the Andes Mountains.

After a selection of local bands, La Planadora del Rock attacked with several songs from their brand new album Narigón of the century (they made eight songs from that album and only three from the multi-vendor The era of bullshit). The Ushuaia Tango group accompanied Mollo in “Volver ni a palos” and together with the Municipal Band they made “Los Axes de mi carreta”, “Japanese Love” and “El arriero”.

An unforgettable concert for all those present and those who saw it live on Channel 7. All while the debacle of the Alliance government deepened and the breakdown of late 2001 began to appear on the horizon.

There is no journalistic chronicle of the presentation of the group of James Hetfield and Lars Ulrich at the Orpheus Superdome of the Doct of January 24, 2010 that does not use the word “historical”. It was a dream come true for the Cordovan metal community: one of the biggest bands of the genre in an enclosed space, with an “intimate” aura even though the attendance was about ten thousand people (the tickets were sold out in a matter of hours ).

The group had just given two shows at the Quilmes Rock in Buenos Aires, at the Monumental, and was reunited with our audience after that fiasco of the shows canceled in 2003 due to “physical and mental exhaustion.” The track list for the “stadium” concerts was not exactly the same as the one they chose for this performance. indoor: five songs from the Black Album (“Enter Sandman”, “Holier Than Thou”, “Nothing Else Matters”, “Of Wolf and Man” and “Sad but True”), four of his most recent work to date, Death Magnetic (“Cyanide”, “My Apocalypse”, “That Was Just Your Life” and “The End of the Line”) and an assortment of the rest of his discography, with a sick ending to the rhythm of “Seek and Destroy.” And a promise: “I don’t know about you, but I’m not going to wait 29 years to play here again,” said Ulrich. It has been eleven and the Orfeo Superdomo closed its doors in 2020.

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