Seville (Spain) (EFE).- Four German robots have arrived in Spain through Seville (south).
Some perfectly lubricated mechanical devices despite having spent more than half a century since their creation in a power plant, which is how the name of the four is translated from German: Kraftwerk, the band that has every appearance of making their lives eternal. creations, like any symphony by his countrymen Brahms or Mozart.
Some 2,000 fans of a group that had Ralf Hütter and Florian Schneider (deactivated in 2020) as original creators have witnessed its landing at the Icónica Sevilla Fest, the festival that is held in the Plaza de España in the Andalusian capital. and to which life has continued to come with Fritz Hilpert, Henning Schmitz and Falk Grieffenhag.
Kraftwerk has literally landed in Seville, because the screens (three) that accompanied the quartet have projected in one of their songs the arrival of a flying saucer flying over the southern capital, until reaching the same square via Google Maps, and releasing up to 18 themes of its long history without flinching from the stage, which is why they are robots, after all.
In reality, attending a concert by the German band is realizing that you are not going to see just any formation.
Their faces are not reflected on the big screens, only video montages reminiscent of a modernized Commodore 64, with four men (robots) dressed in the style of Jeff Bridges in the 1982 Tron or Garrett Hedlund, in the 2010 sequel, both in full motorcycle race within the video game.
They are musicians who don’t speak, they don’t wave from the stage, they don’t dance… They are the parents of electronic music, and when you have that specific child, you can afford to stand still in a concert and have people of two generations follow them without to blink.
This has been the case since at 10:30 p.m., with punctuality by iconic Germans, the chords of ‘Numbers’, the theme by Florian Schneider, Ralf Huetter and Karl Bartos, began to play, and the menu was already on the table ready to eat.
From there, ‘Spacelab’, ‘Airwaves’, ‘Electric Cafe’… Each Kraftwerk song is different from the previous one and the next, because, in the end, being a father is not only bringing him into the world, but leading him through life, and this group has managed to train their repertoire so that, first, it matures over the years, and, second, it adapts to people who weren’t born when they already had followers on five continents.
And in front of the stage, dozens of mobile phones have registered for who knows what the interpretation of ‘The Model’, the most acclaimed of this full moon Andalusian night that Alameda immortalized, to arrive at concert time with this wit out of the hands and minds of Schult, Bartos and Hütter, which sold millions of copies when half of today’s concert-goers were considering whether to enroll in BUP or FP.
There were still ‘Tour de France’, ‘TEE’, ‘Planet’…, there were still a good handful of musical icons to emerge from the ingenuity of the quartet in fluorescent suits, who finished off the Sevillian task with ‘Music non Stop’, got off the stage one by one after a slight bow and were lost among the columns of the impressive Plaza de España in Seville built by Aníbal González almost a century ago.
Be careful: the robots have left Seville tonight, but they will return, after three landings in Europe, to Spanish soil, but entering from the north, to make a stop on July 21 in Sallent de Gállego (Huesca), and stand in another iconic place, the Teatro Real in Madrid, which, having just turned 200 years old, will open its doors on July 27, so that the public can check live again if it is true that Depeche Mode or The Human League drank from their songs to be born as groups and follow their robotic trail.