There are concerts that condense something more than the music, they capture it Cultural situation, social atmospherea means of understanding Art in society. an offer Cindy cats This Thursday, November 27 at Vero Microstadium It was one of those nights. At just over two hours of live music, the project packs some punch The most famous musicians in the Argentine scene The year closed with 360 degree experience Who combined improvisation, rereading the classics, surprising the guests, and a stadium that did not lose interest even for a second.
Cindy Cats releases their debut album “En vivo Vol. 1” and announces a concert at Ferro Microstadium
“Thank you for kindling my spirit tonight,” he said. felipe herrera, One of the group’s musical directors, in one of the few spoken-word periods of the evening. His speech summed up the general feeling Warmth, delivery, company.
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Cindy cats Born in a brewery Palermo in 2023Without a journalistic strategy or a calculated start. Just a group of musicians –Francisco Aldoncin, Pedro Pasquale, Axel Entroini, Felipe Herrera, Julián Gallo, Gonzalo Esai Palacios, Carlos Salas– Gathering to improvise in front of a small, loyal audience. The proposition grew from word of mouth: first bars, then trendy clubs, and later medium-sized venues. In 2024, they filled in for Obras, and this November, Ferro became tangible confirmation of an almost literal ascension.
Rosalía returns to the scene after three years with her new album “Lux”.
“We hope that 2026 will bring more music, more unity, and more people being open to this experience,” Herrera said in conclusion, summarizing the vision that drives the group.
The 360-degree theater – completely surrounded by the audience – enhanced the collaborative aesthetic of the project. Without front or background, each musician respectively became the hero and support, while cameras showed closed-circuit footage that accompanied the jam variations.
The night opened with “abyss”the piece is condensing The musical DNA of the group, Tension, rhythmic layers, crescendos and formal freedom that are in dialogue with jazz but lend a contemporary folk and urban language. This was followed by an introduction “Saturday” and “Unfounded”linked with musical clips that showed the band working with studio precision in a context where each version is unrepeatable.
As is usual for the project, the guests have not been announced. Daniel Mazza and Vaco Balta They starred in their first highlight with a groove-laden version of “Quando Quando.” Balta He later returned for “Nobody’s Seeing”, where he delivered an emotional intensity that was met with thunderous applause.
The sequence continued with Rogero performing “I Come to Give My Heart,” a classic that turned the stadium into a mass chorus; April oliveira With a revised copy of the Agreement; and Josefina Silveira Take the mood towards contemplation with “Alma De Diamond”.
The moment most closely linked to Argentine roots came No Charro and Juan Valo Simultaneous translation “Troll CarnivalBefore starting, Herrera remembers growing up in social clubs like Vero: “The clubs are cultural hotspots. They trained us and trained many of our colleagues.” The copy included parts in the original language, which enhances the pluralistic dimension of the project.
The most delightful span of generations and styles united. Diego Torres and Luz Jaggi They performed a medley of “Leaving Everything / Trying to Be Better,” eliciting one of the longest applause of the night. Emilia took off with “Geniotrapped” and “Facts,” while Acru quickened the pulse with “Josear,” adding to the power of local rap.
The urban segment has reached its highest point in traditional cypher, this time with thunderin a barrage of improvised verses that connected to the roots of the project’s jam.
Then shift the playing field again: Emmanuel Horvillor He turned the center of the stage into a dance floor with “Tu cara de culo” and “Amover el culo,” two classic tracks that the band covered with funk nuances and expanded beats.
Rosalía attended the Cindy Cats show at Ferro Stadium
But one of the most talked about moments of the night didn’t happen on stage. Minutes before the show began, a rumor began to spread among the audience that… Rosalia was on the field. When the audience recognized her, she was wearing dark black glasses and a white hat, in keeping with the religious aesthetic of her album Lux-The applause was immediate.
The Catalan artist, who recently arrived in the country and without previous public appearances, followed the concert standing, danced during the solos, reacted to the crescendo and spoke with those who were near him. when it rang”Rosalia.AR”In a direct reference from the group, its sector of the stadium became the nucleus for the high phones.
The scene spoke for itself: one of the most influential artists in the world, present without announcement or protocol, closely following an Argentine jam who was born in one of Palermo’s bars and fills the stadiums today.
Finally, she thanked Herrera again: “Thank you for being here, to support music in a country that’s not always easy to do. And this continues because you continue.” Then he introduced all the musicians, technical staff, and visual artists who accompanied the proposal.
Rosalía joins Björk, Estrella Morente and the London Symphony Orchestra to bring ‘Lux’ to life
The closing came with “Circo Beat,” an expansive reinterpretation of the Fito Páez classic that was both a farewell and a celebration. With the stadium on its feet, the band left the stage after more than two hours of continuous music.
What happened at Vero was more than just a successful concert. It has been the consolidation of an episodic phenomenon that unites experienced musicians, emerging artists and young audiences who find a space of belonging in improvisation.
On this occasion, Rosalía’s applause – that silent but decisive presence – was the perfect symbol of a project that has already transcended its origin and is moving towards a central place in Contemporary Argentine musical culture.