Bambones and Trabachones put the fashionable lyrics in the third phase of murgas; Those of El Cardonal, the best in their interpretation, with an orderly letter, in front of Yone Expósito, who sinned at times of too much criticism of the rest of his colleagues in his modality.
1. Diabolical (2017).
Under the orders of Lali Carvajal they returned to the stage after the two-year hiatus due to covid, which started with a solo presentation. They defend with their voices the work done by Richar Casanova, in an evening in which they premiered a parade, called to become a hit parade of the murguero Carnival, a bet by Lolo Tavío, guarantee of guarantee and success in these compositions.
“Diabolic Pasodoble” was his bet in search of the pass to the final. As soon as they start, they sound nice, and they are understood when they admit that they have been waiting for the reunion with the public for two years. “The murga has evolved,” she warns, to launch another pearl: “There is no future without a past” to continue with what was intended to be a soundtrack in the form of a pasodoble.
From the first stanza to the pandemic, with references to deniers or the desire to get out of the health crisis better, to mention La Palma and the need for aid to arrive. “Only when only Spaniards are interested”, to continue with reference to Felipe González and Aznar, who were later followed by many other presidents… Although it may seem contradictory, they sang so well that the pasodoble seemed like an arrorró, a procedural theme by Víctor Asensio , the master of Crazy Devils.
Once again, another premiere, his farewell, which had more Carnival than the opening of Enrique Camacho’s gala. At first, the batucada of the comparsa prevailed and it got mixed up; they put order: they cut the comparsera percussion and began their new farewell, also ‘made in Lolo Tavío’. If their aspirations were not to go to the final, they can boast of singing and sounding pretty; as beautiful as claw the parade lacked. They demonstrated a job done with musical taste. Maybe too much.
2. Sleeves rolled up (2018).
Los Guanches de Candelaria stood on stage with a presentation in which they vindicated the director of their first year in competition, Marco González, who was previously the director of Triqui. He only demonstrated the merit of the murga, because Marco resolved the forgetting of the lyrics in his presentation; he fortunately he did not erase the time of his performance from memory.
From there, parades with a new director, Iván Morales Bobi, also arrived from the Triquis factory and who dedicated the entire repertoire to the remembered Curtis.
Rolled up their sleeves seemed to be in no hurry, although this year the duration of each performance was twenty minutes instead of thirty, as before covid. Presentation, parades, and his performance became eternal, to disembark as “We are Berbers and we float in the sea.” From there, they broke down a letter and a performance that seemed typical of the Ni Fú-Ni Fá of the sixties. Rolled up honored Sangarriangas.
References to the Guanches of Candelaria, criticism of the price of electricity, the rise in taxes… the lyrics were richer than his fantasy. Of all the song, the best: «Do not disturb, please». She stayed in the phrase while they seemed to make references to the volcano to explode with 41 voices, one more than components. And then the farewell. A ten as a social revitalization project.
3. Jobs (2019).
Yone Expósito, the talismanic director of this formation that was to arrive in 2020 and give him the pass to the final, knew that he had to make a clean slate. And they performed a presentation without time to assimilate what they sang and reset and send elements eliminating, at least, the first performance of the third phase.
The buffoons who began their new era in 2020 raised their voices in the form of “magic that fills your heart”, to end with their war cry: “There, pimp”, in memory of José María Guiance, president at the stage of Jobs until his death. After the hors d’oeuvres, contest time. The voices, with the stamp of Judo Lorenzo, a signing of the murga Ni Pa Tanto, from the North.
Trabachones grows in his musical start and only does choirs. The theme is stuck with so many voices to sound nice to remember the problems raffled during the covid, such as the aid that never arrived, or the lack of health guarantees for the elderly… And they seem to gain strength.
And he goes down again to refer to the Carnival and reproach the murgueros who have sold themselves for a piece of cardboard, to tell the politicians that Trabachones are not their jester. The subject takes a turn. Now to the corruption. Then to the show in which the televisions turned the eruption of La Palma, to sing beautifully to the Canarian culture as puppets and «have the freedom to send them to hell…». Trabachones grow: “He doesn’t give them a prize to sing.”
4. Bamboos (1982).
They are so big that they even laugh at themselves, no matter what it takes. This explains why they presented the fantasy made for them by Sedomir Rodríguez de la Sierra, who limited it to a dozen components that they put on, to ironize and invite the public to take their photos and record videos. Then behind they appeared with an anthology of costumes from previous years.
From his self-critical presentation, the fairgrounds activated the CD with the Bambones parade that was danced even in Gran Canaria last night. They continued with “Luckily we were going to come out of this better”, so much so that even Bambones said that even the murgas of Las Palmas are already heard, they also include a reference to immigration; the murga seemed to want to explode but they had limited sound, which didn’t prevent the machistas or those who claim to be so patriotic, in reference to Vox, from tearing up.
References to the covid vaccine, to the eruption of the volcano, to attack the private health sector that made cash while the sick were in toned in the corridors. “Health, worse with this Government”, to contrast with the applause with the situation in hospital care. «That we were going to come out better? Patients die waiting for operations. And then, they rebel against the viruses of racism, mistreatment, war… The best of the third phase; although more is always expected of them. And even more current. A theme to delight in good lyrics. Bambones is the worst rival of Bambones, who are asked for excellence.
5. Unleashed (2019).
Bambones left and it seemed that they had taken the mute off the stage. With Tati García, they started with a presentation that seemed like a tribute to children’s murgas due to the staging, but they were understood, contagious and they performed with grit. The parade spread joy and the desire to become a murga.
They continued with their contest theme, the work of Alexia Rodríguez and Romén Soriano, in which they seemed to remember those stories that were staged to play success. They referred to the clothing of the young women to go to the party to continue paying tribute to Pepe Benavente and criticizing the success of the new musical trends. There they embedded a reference to bet on gender equality and integration.
They wink at the children who take care of their parents and always give love, real children who never leave, to continue with the Carnival, remembering Billo’s, the moment in which Pepe Benavente came out with another troupe dance group, moment that recalled the street party. Unleashed has taken a spectacular leap. Now they just have to define their style.
At the end of the three phases, there were more seats (eight) than murgas with final merits.
