Izaro at the cinema – Fuzzy Skunk

As he is giving very good concerts, on Saturday we repeat on the tour ‘Limones en Invierno’ by the trilingual singer-songwriter and popera Izaro at the Muxikebarri in Algorta, where he sold out in both passes: 5 and 7:30 in the afternoon. We went to the first one, when Izaro said: «Thank you. You have come to the cinema hours ». And surrounded by kids predisposed to cheer, clap and chant (this is just the limit, eh?), We witness their good gig of 16 songs in 82 minutes, counting in time the ingenious final choreography of musicians and technicians according to the screen he passed the credits just like in the movies, yes.

Izaro Andrés Zelaieta (born in Mallabia on New Year’s Eve 1993 and a neighbor of San Sebastián) acted in a quintet and in such a stellar way that his four squires barely reached the light and they remained almost all the time in shadows. Izaro officiated by reserving himself because later he would have another concert of an hour and a half, but even so he maintained a very high level: he sang marvelously in three languages ​​(Basque, Spanish and one in English), he often played electric and acoustic guitars, he changed clothes up to wearing three models, danced in prepared choreographies and was close to the public: she came to reveal that during this pandemic she has learned a word, ‘resolutivo’, which applies to further her career, for example, even quadrupling the concerts (giving several in the same place for the sake of the legal capacity limit, now set at 400) and charging less (which is already happening with the entire Spanish and international scene).

Artistically, Izaro is never gripped by nerves, his band is not slack (the new drummer, David Gorospe, very good; ah, the least brilliant moment was when guitarist Iker Lauroba sang one while the boss exited to dose her throat and change of clothes), the visuals on this tour ‘Lemons in winter’ accompany him in a way that is as sporadic and sober as they are ingenious, and on top of that the Ereaga room at the Muxikebarri sounded like a cinema.

In ‘Ihintza’, with the squires also in shadows. /


The 5 o’clock concert had three parts. And if you prefer four parts, segregating the electronic passage of her alone in ‘You’ (the only one in English), the one that followed the two acoustic pieces, very well both, the first in a trio, ‘Tu scale de gris’, a folk better than Nogen’s and with the respectable one chanting hippies around the bonfire, and the second in duet with Garazi’s piano, ‘Ice Skating’, in the Mecano way, and with a hard and vindictive ending: freeze to death ».

The beginning, the first part, had a floating and border American sound, although not as magical as when we saw it at the Euskalduna two months ago, on Thursday, October 15. Would the distances from the Euskalduna benefit her? Hum, surely on Saturday at 5 in the afternoon, the time of the cinema (tea and bullfighting too), Izaro restrained himself, but also so he flew high from the start with ‘Invierno a la vista’ («He has styling and everything. It has grown. Like Rosalía “, judged a surprised Azpiazu) and then the bluesy airs of ‘Errefuxiatuena’; the absolute peak that was the hybrid between La Oreja de Van Gogh and the Jayhawks ‘Delusions’ (with final choreography, pre-Chris Isaak falsettos, and on top of that when he released the phrase of ‘my best lights’ several spotlights illuminated the stands in a wink that his neighbor Loquillo should emulate), or the somewhat dramatic Mikel Urdangarin from ‘Ihintza’.

Izaro with the second model, something Rosalía. /


And after the aforementioned acoustic and electronic passages, we faced the epilogue, which was less irregular than in the Euskalduna due to the reduction and selection of the repertoire (in fact the only regular moment was when she left her musicians alone and Iker sang, with less grace than the boss). In this last third Izaro vindicated the feminist struggle in ‘Libre’, not without first stating that at some point “we are all sexists, we are all racists, we are all classists” (some more than others, of course) and embedding a rapt last dance with reference to Beyoncé (perhaps for this reason she deserved the biggest ovation of the afternoon session, as her dancing inflamed the fans), and also shot Chris Isaak’s ‘Wicked Game’ to reshape her song ‘Astelehenak’ (“a self-version of the first album », Presented), today finished the second high peak in an ‘Er (h) ori’ with leave Isaak also although it was a kind of folk pop superior to the even less mature Nogen, and Izaro finished the evening evening dressed in the third outfit, with veils as a superhero cape to face a triad in Castilian composed of ‘Closed Windows’ (and their lyrical daily life, this time for coffee), the cabaret chamber pop somewhat Pauline En La Playa ‘Here’ («I have and I still keep his love in my person » , introduced in reference to the love of his mother when he carried it in his gut), and ‘My song for Elisa’, a westernized Africanism as also worked by 21 Japanese women from San Sebastian and in which Izaro danced challengingly.

It was very good. This girl has grown up in boards and security. Izaro’s next upcoming concerts will be in Zeanuri (26, Fronton), Sopelana (29, Urko Sports Center) and Amorebieta (30, Zornotza Aretoa), and on January 2 in Vitoria (Principal) and on January 3 in Ondarroa (Beikozini) . We will look at our schedule to travel to Sopela or Amorebieta, God willing.