Chappell Roan: and Primavera saved the best for last

And so stars are born. In a kitsch-as-hell set , simulating the Gothic haunted house of a Brothers Grimm tale, Chappell Roan appeared, and her shamelessness and inhibition spread to the 65,000 people who must have been watching her at that moment. Dressed as a Venetian harlequin with vamp makeup, Roan captivated everyone from the very first minute. She kicked off with "Femininomenon," forcing everyone to sing along. With sharp, firm, dictatorial movements, she became the queen of every whim, like Marie Antoinette, and whoever ignored her: off with their heads!

With a band of women, she championed the need to fulfill all your fantasies, whatever they may be. With " After Midnight," she compressed the universe of Lady Gaga and Michael Jackson into seconds, the perfection of pop culture. The singer stopped at nothing. The variety of her offerings isn't yet very diverse, but it doesn't need to be. For her audience, Chappell is a complete novelty, and now they just want more, demand more, and get more, even if it's the same.

It's clear that you always have to save the best for last, and Chappell Roan's concert was simply the highlight of Primavera. The artist walked the platform, which brought her closer to the audience, as if she were a model on the catwalk, a fairytale princess, a head-turning star. At times she reminded you of Cindy Lauper, at other times of Bette Midler, at other times of Divine, at other times of Cher, but this girl has her own uniqueness that reminds you of everyone, yet she's not like anyone else.

She performed new songs, like "Subway," which at times even brought back a sense of amphetamine-fueled Tori Amos . This girl has somehow captured the entire history of female pop in her veins and unleashes it at will. "Now we're going to teach you how to dance," she said, and began choreographing "Hot to Go," another of her hits. Immediately afterward, she performed a cover of Heart's "Barracuda" by the Wilson sisters. With a new outfit, now dressed as a Queen of Hearts escaped from the Moulin Rouge, Chappell rocked out and showed that she can also be tough, although what she really demonstrated was a unique flexibility, worthy of an Olympic gold medal, at least.

A few minutes later, Chappell Roan asked the audience to hold up something pink, and ten thousand fans, T-shirts, and scarves appeared. Emotionally moved, she began with the ballad "Kaleidoscope" and continued with the Miley Cyrus-style country jam "The Giver." Naturally, the finale featured "Good Luck, Babe" and "Pink Pony Club," the anthems that have made her a star and the icing on the cake of a memorable evening.

The heat took its toll early in the afternoon. Judeline's mesmerizing voice greeted those entering the venue from the main stage. Her avant-garde hyperpop with a southern accent is destined to become an international phenomenon. Because the Spanish accent dominated these early hours, with Pamplona-based Kokoshca unfolding their guitar pop with aplomb. "How tiresome all these people are," they sang in "La juventud," and they were right, how tiresome they are, but after three days at a festival, your tolerance diminishes.

A few meters away, the Americans Dehd …well, mehd. The heterogeneous trio recreated a noise pop full of enthusiasm, singing about feeling like an outsider and sharing stories of being homeless. Even better was veteran Kim Deal , who divided the concert perfectly: the first seven new songs and the following seven old ones. You don't have to be a genius to know which was better, but if they sing "No Aloha," "Safari," "Invisible Hand," "Cannonball," "Happiness Is a Warm Gun," and "Gigantic" in one go, you'll be completely happy.

At the end, the Black Country boys, New Road, presented their lyrical and complex art pop as if it were a minuet. The English sextet seemed like something straight out of a Julliard class for gifted students where laughter is prohibited. Their countless influences miraculously blend into six-minute songs that shake you in a thousand directions at once. They still miss Isaac Wood, their soul mate who left the band due to mental health issues. Even so, they retain the power of their songs, increasingly closer to the classical world. Now they focus more on vocal harmonies and multi-instrumental fables, but they're still tense, hyper-focused, obsessed with controlling everything, and sometimes, as Tom Cruise said in "Risky's Business," you have to know how to let go. "Enough with all the sentimentality, let's go for something happier," they said, and began to let go a little. Just a little, but that's it, very good, it's all just getting started. Even the seagulls came closer to see what it was.

By the time Fountains DC came around, the heat had disappeared, along with the sun, the tiredness, and the goodwill. The Irish band became rocky and elusive at first, uneven. "Jackie Down the Line" lifted the spirits, but their singer, Grian Chatten, remained distant and passive, as if he were Liam Gallegher . The post-punk with new wave pretensions sounded bombastic, but somewhat devoid of soul. Something that gradually changed until "A Heroes of Death" was pure jubilation. With "Boys in a Better Land," their tribute to Stiff Little Fingers, it was what it was supposed to be. It's only rock 'n' roll, but we like it. "In Another World" and "I Love You" ended a concert that went from strength to strength in a sentimental and vulnerable way.

The early morning began with Anhoni and the Johnsons, dressed in white robes, weeping for a dying world. It wasn't a concert, it was a mass, a beautiful and solemn one that heals the spirit and elevates the conscience. By the time their now-classic "Hope There's Someone" came on, there wasn't a single dry eye in the audience. And so everything went black, and we bid farewell to Primavera until next year.