By José Gandue @Gandour
Photo from the official Estéreo Picnic catalog
How to develop a review of an event that It has become one of the leading private festivals in South America, But making clear the shortcomings to which the assistant is subjected who, if not accredited by the press (like the author of the note), has had to pay an amount similar to the Colombian minimum wage to enjoy the show over its three-day duration?
He Stereo Picnic Festival Now in its eighth edition, the festival is pulling out all the stops, boasting a lineup that, at first glance, has enough going for it to appeal to the average music fan in Bogotá and the surrounding area. Its visual and presentation efforts are impressive, and it's clear they've successfully navigated the production challenges, meeting the demands of international artists. This edition has 3 impeccable stages, on par with any production on the planet. Based on these observations, we open the debates:
Let's start by talking about music. Estéreo Picnic is a clear example of how much of the music that comes from independent record labels or the alternative scene, has acquired the tools that, for better or for worse, work in the commercial field. In many cases, the differentiating line has already blurred, and it shows, not only in marketing but also in strictly artistic terms. Many of today's musical offerings, especially those from Anglo-Saxon markets, resemble Hollywood action movies: Lots of special effects, surprising explosions, dazzling protagonists, but, when it comes down to it, little substance and boring stories. Today's alternative pop is soulless, bland, and becomes boring by the second or third song. It's hard to understand the worldwide success of artists like The Weeknd, whose musical output, if you remove the giant screens and dazzling lights, is weak and limited. A former contributor to Zonagirante.com, Iván Daguer, once said in one of his articles that if a musical performance is powerful on its own, it only needs four lights, and that's it. Of course, in modern times, there are wonderful resources available, and if they're there, they should be used, but their use cannot be the main focus of a musical show. The Weekn sells a lot of smoke and mirrors and for the moment has many customers captivated by its illusory acts, But that has been more due to effective publicity than to a genuine cultural achievement. Regarding acts like The xx, Bob Moses, and Glass Animals, one can simply say that they're there, they entertain, but they don't leave much of an impression during their time at the festival.
Fortunately, after The Weeknd fiasco, Justice was there. Fortunately, this French duo was performing on a different stage and delivered a masterclass in power, good taste, and captivating emotion. Theirs is a fascinating, comprehensive offering, without any gaps. Justice knows how to hold their own against great acts like The Chemical Brothers and, why not say it, Kraftwerk. Am I exaggerating? I don't think so. Their strength lies in harnessing the power of rock and subtly incorporating dance, all within a captivating visual setting. That's what gave a good flavor to a night filled with heavily promoted acts that, in reality, had little or nothing to offer.
The reader has every right to ask why we do not mention other acts (I would have liked to see Six Pedestrians, Sagan and Aj Davila, among others) And this questioning opens the door to a second debate: The logistical details of the festival. We've already discussed the commendable efforts of the Estéreo Picnic producers. But it's undeniable that there are many issues that affect the festival's attendees. These include:
-Holding the event in a vacant lot on the outskirts of the city, with extremely limited access. This is a crossroads for the daily commutes of residents from the northern suburbs of Bogotá, as well as the busiest intercity bus routes in the region. and the desire of thousands of music fans trying by all means to reach the location, This results in traffic jams that can last up to three hours during peak times. Customers are advised to arrive far too early and leave well before the show ends if they want to avoid hardship. The local police are of no help whatsoever, as they are unprepared for this situation. And it's clear that the city's mayor's office has little interest in solving a problem they've been aware of for several years. The process of arriving at and leaving the festival poses significant risks for attendees, who often find themselves walking several kilometers alongside the highway to escape the chaos. Trying to arrive on time to enjoy the show is virtually impossible due to a lack of planning and the negligence of some political leaders.
-In addition to the traffic problem, we must point out the disorganization of the festival's logistics in facilitating the entry of fans to the venue. The information is unclear and the assigned staff are not very helpful in resolving the issues. The journey from the moment you arrive at Parque de la 222 until you enter the space designated for concerts can take a long time, causing discomfort among the spectators.
–The rule against allowing external products into the festival reaches ridiculous extremes. From confiscating cigarettes to barricading chocolates, sweets, or homemade sandwiches, it reflects poorly on the event organizers, suggesting their greed knows no bounds. I'm almost certain it's a misinterpretation by the security personnel, who take their recklessness to extremes, but regardless, the attendees' frustration only grows with these kinds of actions.
In the end. All of this is said without any ill intent. The existence of festivals like Estéreo Picnic helps to refresh the musical landscape of Colombia and the region. It's an event that employs hundreds of people and, moreover, strives to leave as many positive memories as possible for attendees. Estéreo Picnic has also established itself, in their interest in being a good showcase for local bands, and the development of contemporary Colombian sound. However, if they correct the production shortcomings related to their clientele in future editions, they can fulfill the premise of their motto, that is, to be "a different world". If that improves, we can happily continue debating current musical issues.
