Before an audience made up mostly of young people who grew up with her idol, Demi Lovato showed much of the new material and mixed it with some previous hits, which further highlighted the contrast with the new rock aesthetic, which appears in a palette that oscillates between pop punk, glam rock and some touches of grunge.
For this, he was accompanied by a quartet made up exclusively of women, who presented the guitarist Nita Strauss, recognized for her work with Alice Cooper, among others, as a visible face. A whole declaration of sonorous principles.
The artistic and personal reconstruction of the former Disney girl through her music has its visual counterpart, and the staging of the concert also gave an account of it from sobriety and the commitment to dark colors.
But before focusing on what happened last night, it is worth reviewing the parable traced by this figure, from his early appearance in the television troupe that accompanied the dinosaur Barney and the youthful “Camp Rock” with The Jonas Brothers, among others. productions of the Disney factory, until this “Holy Fvck”.
In the middle, the young woman who complied with all the hegemonic canons fell into addictions, as a result of the pressures of the environment, to the point of suffering an overdose, a moment used by her dealer to rape her. She too, revealed that she lost her virginity at age 15 to abuse, when a fellow Disney troupe she was kissing neglected her request to stop there.
Bulimia and anorexia were not lacking in these ravings, and a couple with the actor Wilmer Valderrama in which the age difference (she was 17, he was 29) turned into an abusive relationship.
All this was spit out by Demi Lovato in the songs that make up “Holy Fvck” and the electric pulse that she imprinted on this work makes each piece officiate catharsis and manifest at the same time.
Around 9:40 p.m., the great white curtain that hid the stage fell and revealed a sober black space, with a quartet of girls on drums, guitar, bass and keyboards, dressed in black, analogously reeling off a sound of solid bases. and distortions.
Amid the applause of the fans, Demi Lovato made her appearance with a look at the opposite end of her years at Disney, given her dark appearance, especially highlighted by the punk-reminiscent makeup on her eyes.
A mixture of Joan Jett and modern Siouxsie, the artist furiously attacked a sequel to her new album made up of the song that gives the album its name, “Freak”, the referential “Substance” and “Eat me”, in an adrenaline rush.
After a breather, the usual greeting and thanks, and the band’s early introduction, came some past gems like the celebrated “Confident” and the vigorous “Here We Go Again”.
Although this passage, which also included “Remember December”, “La La Land” and “The Art of Starting Over”, showed a more relaxed facet with its pop song style, the rock pulse was still felt, both in the attitude of the figure of the night as in the deployment of the band. There was no lack of tapping and other guitar acrobatics by Nita Strauss.
But the second half of the concert showed the rawest side of the artist with songs from her new album such as “29”, in which she alludes to her relationship with Wilmer Valderrama; or “Skyscraper”, which talks about eating disorders.
But there was also a ballad with “4 Ever 4 Me”, a rock song with “Sorry not Sorry” and “Heart Attack”, and a 2000 model pop punk with “City of Angels”.
“Skin of my Teeth” was announced as the last song, although of course there was time for encores that linked present and recent past, with “Happy Ending” and “Cool of the Summer”.
If Demi wanted to make catharsis with her documentary, transfer it to music in “Holy Fvck” and reinvent herself from a place opposite to the one that marked her destiny, now she can add to her healing process the container embrace of those who, from this part of the world, they enjoyed it from their first glimpses of talent.
By Hernani Natale.-
Source: Ambito
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