Dellafuente, between fire and water: "In a way, this is a farewell."

Dellafuente has been conquering every stage he sets foot on for over a decade. And last night was no exception. It was a highly anticipated concert that took the Spanish urban genre to the next level: bringing the Madrid Metropolitan to its knees . With fire—with royal columns—and water—with fountains and a brief downpour—the show left no one indifferent.

The Andalusian artist is known for fusing genres such as flamenco, techno, trap, and reggaeton. A 32-year-old who pays tribute to his culture, folklore , and roots with a spectacular star-shaped stage, complete with fountains and a Nasrid decoration reminiscent of the Alhambra . A stadium that, despite nervously waiting for more than 30 minutes of delay, stood up to sing along with "13 palabras" (13 words), the first song to be played as loud as the terrible sound system would allow.

With "Al vacío," the second song of the night, the acoustics didn't improve much, but the singer became increasingly clear. Although sounding above the more than 70,000 voices who witnessed what seems like the beginning of the end of an era is no easy task.

Not even the heavy rain that swept across the field in seconds could extinguish the fire of an audience that had been waiting for months, even years, to see their idol. However, her guests didn't back down either. Judeline 's voice drifted softly into the audience, and seconds later her image was projected onto the screens anchored to the enormous sound poles—elements criticized for obscuring visibility at street corners. Together, they performed one of the best songs of the night, "Romero Santo." Lia Kali was the second person to take the stage; with her flamenco influences, she sang "Fosforito" and absolutely smashed it.

Also appearing at the Andalusian complex, built for Dellafuente's two nights at the Metropolitano , were Rels B and his "Buenos Genes" (Good Genes), Amore and their "Malicia"—fusing techno and urban rhythms. Also on hand were RVFV , the duo Pepe y Vizio , and, to close out the collaborative setlist, Morad with "Manos Rotas" (Broken Hands).

Throughout the show, the Andalusian was accompanied by a large group of dancers, a kiss cam during the song "Romeo and Juliet," as well as a DJ table and an extravagant lighting system worthy of any major venue. The highlight, however, was the use of thousands of light bulbs to turn the stadium red, with the fountain simulating the gushing of water the color of blood. And, after a stunning aerial view that could only be seen from the screens, a band appeared on stage. Drums, guitar, and bass, surrounded by torches and columns of fire , which, from a distance, look great, but at 37 degrees in the shadow of the Madrid night, it's almost... odd.

"Thank you for being with me for over 10 years of my career" : these were the singer's words after asking about the fans who had been listening to him since "Consentia" and "Guerrera," two of his most famous songs. "Ayer" was also played, filling the air with nostalgia.

Toward the end of the event, Dellafuente stated that " in a way, this is a farewell . It's not just the show, but a stage in my life." Words that saddened fans, but were applauded.

Emotional moments with the singer sitting down for the first time in the entire concert to perform "Una gota" and "Veneno" with a live keyboard. "I need to rest and assimilate everything we're experiencing." With these words, and singing "Consentía"—his signature song—Dellafuente concluded one of the most important concerts for a generation.