Just after 9:00 p.m., the eternal 10 minutes of Hallogallo, by the Germans NEU, ended and the room was covered in darkness. A drum base preceded the emblematic tapping of Dancing with myself, slapping an audience that sold out every nook and cranny of the stadium.
Clad in his leather coat, shimmering golden hair and a smile that danced between his wrinkles, Billy Idol sprang forward like a cyberpunk hero to tame a frenzied crowd.
Cradle of Love Y Flesh for Fantasy They closed an overwhelming and eighties triad, with an Idol who from the outset left no doubt: his flow of voice and his handling of the scene are intact.
“Today we are going to play classics from the past and classics from the present”, says Idol with a picaresque halo, before presenting Cage, his new single released just weeks ago. The band sounds electric and powerful, compact. It ranges from punk to glam, always with a pop component that makes Billy’s music such a special piece.
Then it was the turn of the ninety Speed and of Bitter Tastea recent folk song with which the artist recalls the motorcycle accident that almost cost him his life.
“Hello, goodbye, there’s a million ways to die”, Billy sings, making use of his lower register which, already advanced in years, suits him perfectly. By this time, his sidekick and guitar hero, Steve Stevens, is starting to take over the stall.
He confirms it in the preview of Eyes without a facewhere he throws some flamenco yeites while Billy gets ready, to later complete with an acoustic guitar solo where he alternates between Spanish music and the zeppelin bands Over the hills and Stairway to heaven.
Idol returns to the scene escorted by a scene of a dystopian night city, in which neon signs with the musician’s signature stand out. His interaction with the public is sober and warm. With little enough to turn everyone on. Mony Mony and Running’ from the ghost shake Luna again.
“Are there any punk rockers tonight?” the singer asks before playing One Hundred Punksfrom Generation X, his band born among a group of friends who followed the Sex Pistols on their adventures around the United Kingdom.
The evening is diluted with the powerful and no less nostalgic Blue Highwaywith jam included and the infiltrated Top Gun anthem -courtesy of Stevens-, a previous step to the “favorite Idol song” and, by how it reacts, also of a good part of the public: Rebel Yell. By then, Luna Park had already oscillated between a disco, a downtown London club and a Blade Runner-style dystopia.
The band says goodbye. “We’ll be back,” Billy clarifies, while the “olé olé olé, Billy, Billy” makes him chant with the people. The first encore is Born to lose, by the late Johnny Thunders. Billy then thanks the Argentines for a wonderful life and also Stevens, whom he asks to “show how a hit sounds.” And Stevens complies: White Wedding sounds.
The unorthodox closing is lost in the confusion. Billy introduces the band and the six musicians disappear from the scene. Immediately after, David Bowie’s Suffragette City speakers win and the lights come on, undressing an audience where punks, metalheads and many gray-haired people abound.
There is something in common between them: everyone smiles
Billy Idol says goodbye. There were 16 songs, a school of electric and changing hits, in full swing. Thus, the British closed a course of more than 30 years without playing in Argentina, with several feints in between. Debt paid off and more than enough. Until returning.
Source: Ambito
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