After appearing on Friday, September 2 at Rock in Rio, where he invited important indigenous leaders of the Amazon to the stage, Gojira arrived in Bogota to play in front of the thousands of devotees who had been waiting for it for many years. When the appointment finally took place, Colombian group Siracusi was in charge of opening the show with a good performance, showing that their sound, which moves between déjt, metalcore and other genres, was very well received by the public. That’s why she was chosen to open for one of the most important metal bands of today.
Around nine o’clock in the night a countdown was announced that Gojira’s journey to these lands was coming to an end. ‘Born for One Thing’ (first theme) Patience, French’s most recent album) was the opening of a concert that can hardly be erased from our memories. A ritual began, a type of ceremony in which women and men of very different ages were joined by a unique, mysterious and profound soul.
Gojira avoids many of the metal clichés (onanist solos, for example) and seems more brutal than most of his colleagues. Before the start of this century, the Quartet has been opening up new routes, paths that do not run through clear land, paths that have been cleared by the death of Chuck Schuldiner and Robert Fripp’s King Crimson, without Sepultura, Metallica or tools, Absolutely.
The repertoire covered practically the entire discography, with particular emphasis—obviously— Patiencewith very powerful moments for magma (‘Stranded’, ‘Silver’ and ‘The Sail’) o wild child (“The Gift of Guilt” and “L’Enfant Savage”). When ‘Flying Whale’ was played, flying whales jumped over the heads of the public, who waved the flags of Colombia, Ecuador, Panama, Costa Rica and El Salvador.
With immaculate production, flames, confetti, lots of smoke, masterfully managed lights and incredible visuals, the concert was a journey through nebulae, ocean floor, ravaged cities and endangered forests.
And the tour was always directed by the Duplantier brothers, with Mario on drums, and Joe, on vocals and guitar. Christian Andreu (guitar) and Jean-Michel Labadi (bass) completed their roles to perfection, as usual, dressed in black on the sides of a stage in which Mario ruthlessly embellished white drums. Were. Leaving aside the boring repertoire of Virtue that has characterized other bands, Gojira produced a compact show from start to finish, rich in intense instrumental passages, hypnotic moments, and thunderous avalanches.
Bogotá will soon receive a lot of metal at concerts and festivals that will test the pockets of the most loyal; Judas Priest, Arch Enemy, Venom, Behemoth, Exodus, Destruction, Ginger, Sepultura, and Epica are just some of the groups that will pass through the city, and they all have to burst onto the stage to survive any comparisons to the Duplantiers. and showed it to his friends. The metal of this century responds to a variety of dynamics, in which the great hymns of other times seem to have been replaced by more complex and deep sounds, with the success that Tool, Gojira, Opeth or Meshuga have achieved in recent years. There are clear examples of that.
In any case, if there is any band that materializes the sounds of the chaos and uncertainty in which we live today, apart from the arduous pursuit of purpose and meaning, it is Gojira. However, at the end of the night on Sunday 4th September and on this turbulent tour, we were all feeling a little better.
Before the start of the show, someone in the audience deliberately said: “Those who watch it today will be fans forever.”