The first is never forgotten: Dillom raised the dead in Luna Park | Between tombs, corpses and guests, the enfant terrible stirred with pogo, dance and delirium

On the verge of delirium and the unexpected. In those waters Dillom moves. That’s why it’s not surprising that after a song, suddenly, she sends herself sailing on the tide of people on top of an inflatable rubber boat. The scene It happened last night at Luna Park, during the presentation of Post Mortemalmost a year after its launch.

In the middle of a packed stadium, the 21-year-old musician and rapper finished singing The first on a column and began to ride in a boat, from one end to the other, until he reached the stage. And he came out unscathed. Something that speaks of trust with your audience, yes. But also a key component in his shows: anything can happen.

Dillom at Luna Park, courtesy Irish Suárez / Bohemian Groove

The staging, effective and not at all exuberant, connected with the mortuary and ghostly aesthetics of the album. Between shades of red and blue, Dillom’s concert was focused above all on the band’s explosive musicality and on his performative capacity, which allows him to turn the dark and the painful -even the most intimate- into an ironic, humorous and theatrical flash. That the appearance of corpses hanging from the ceiling of Luna Park does not frighten or generate noise is an example of this.

The night opened with some mystery. the instrumental the new friends and a lysergic version of Demian with the voice of Mario Pergolini -as in the record- they “delayed” the appearance of the musician on stage. In post-mortem, Dillom finally broke in and activated the bard, the dance and the pogo, a constant in the hour and a half concert.

After asshole came the first clue to (attempt) to decipher the creative and formative map of the artist: before Rili Rili he left with some verses of the irreverent A candlefrom Pity Álvarez’s Intoxicados. Below, in the audience, a Los Piojos flag waved, some girls danced with bloody t-shirts and dark aesthetics, and a rag from some Pompeii boys declared her love for the rapper.

Far from the solemnity, the cemetery that Dillom set up in the Luna had rather a perfume that varied between a costume party, a sweaty club and a ball game for boys and girls. While he changed his shirt -he put on several of The Ramones throughout the night- or decided to stay in leather for a while -as in hegemonic-, the musical set was pure punk and with Gringo playing guitar solos: the new one cans with K4, 1312 with Die Young -one of his main associates of the Rip Gang artistic collective- and two more ragpickers, Coach Y ASAPalso with Dieyoung.

Dillom at Luna Park, courtesy Giuliana Corbatta / Bohemian Groove

In a reggaeton key, it was then the turn of Organicwith Broke Carrey of guest. “Another friend to dance with”, Dillom introduced him, who did not say much more on stage and dedicated himself to singing. The musical climate changed a bit with the participation of Gillespiwhich generated a hypnotic moment with his trumpet before Dillom appeared on the other side of the stadium to sing The first.

That song enabled the most pop facet of the musician. So, in combo they sounded first Bike (“And I’m alone in this town/ I can’t find you anywhere/ And I’m alone, alone,” he sang, paradoxically, in front of more than eight thousand people) and then Twohis collaboration with Miranda!, which received a standing ovation from the public.

The other visit was Saramalacara, who was present to share with Dillom the punk rocket power, which also ignited the adrenaline and the pogo. The bizarre segment of the show starred a fake Bizarrap to play the “fake session” and give way to the playful takeover already the parodic realitywith Haye’s patches at the forefront and bassist Fermín also set on fire.

Dillom at Luna Park, courtesy Vicky Dragonetti / Bohemian Groove

There is something half deformed and unclassifiable in Dillom’s work which, perhaps, inherits something of the irreverence of Paco Amoroso and CA7RIEL, who exploded -and explored- on the scene in 2019. Also, Dillom’s is not essentially pure trap (is there purity in trap?), otherwise an alternative line within urban music. Without being an outsider (he just filled a Moon!), The search for him has a countercultural attitude, which detaches itself from the most hegemonic trap and avoids the politically correct discourse. His is closer to L-Gante, Pity or Todos Tus Muertos than to Duki, Tiago PZK or Cazzu.

“What a year, huh!” Dillon said before the show ended. And there he did express himself: “I want to thank you for being here and for banking. Out of nowhere the public increased ten times this year. We never thought that this album was going to generate all this. It’s fucking crazy. Let them endure, let the rags be, let them paint the shirts and this brotherhood that was generated is very good. I think Post Mortem is already a movement, it’s not just an album. I hope they take a nice memory.” And there he just gave the last one: 220one of the classics of the disc.

After being revelation in the latest edition of Lollapalooza and of exhaust four Vorterix, Luna Park fell a little mature. Or it was the result of a process, brief but accelerated. Immediacy is also a period phenomenon, at least for this new generation. There are few who hit it, but there they are: raving Argentine music like Dillom does. The Great Mystery: Now What?

Dillom at Luna Park, courtesy Andriux Fischer / Bohemian Groove

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The first is never forgotten: Dillom raised the dead in Luna Park | Between tombs, corpses and guests, the enfant terrible stirred with pogo, dance and delirium

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