{"id":11041,"date":"2018-05-01T20:15:42","date_gmt":"2018-05-02T00:15:42","guid":{"rendered":"https:\/\/www.altwire.net\/?p=11041"},"modified":"2023-12-06T06:39:57","modified_gmt":"2023-12-06T11:39:57","slug":"concert-review-awolnation-at-scala-london-uk-04-22-16","status":"publish","type":"post","link":"https:\/\/altwire.net\/es\/concert-review-awolnation-at-scala-london-uk-04-22-16\/","title":{"rendered":"[Concert Review] Awolnation at Scala – London, UK 04\/22\/18"},"content":{"rendered":"

A few months ago I covered Awolnaci\u00f3n<\/a><\/strong>\u2019s latest studio effort Aqu\u00ed vienen los enanos<\/em> in a review here on AltWire<\/strong>, offering my thoughts and feelings on what I felt was an incredibly captivating and exhilarating body of work. Aqu\u00ed vienen los enanos<\/em> stood out to me, with an extreme enjoyment that lasted from the very moment \u2018Here Come The Runts\u2019 began, to the last huge riff and slam of percussion on finale \u2018Stop That Train\u2019. It may be \u2018Sail\u2019 or \u2018Hollow Moon (Bad Wolf)\u2019 that drew some to the London Scala <\/strong>venue to see the band, or perhaps long-time fans since the release of debut Megalithic Symphony<\/em>, but for me it was the wonderfully diverse Aqu\u00ed vienen los enanos<\/em>.<\/p>\n

I recently caught Awolnaci\u00f3n<\/strong> at Scala in London on April 22nd and it was a fantastic show. Opening act Eliza and the Bear<\/strong> kicked things off in exactly the kind of fashion the evening needed; the smaller enclosed Scala<\/strong> venue easily allows for a more personal atmosphere, and you certainly felt that Eliza and the Bear<\/strong> were proud to be there. The group played for what felt too short a time, but this is by no means a criticism; a handful of songs were all that was really needed for much of the audience to completely fall in love with the act, all members of the band clearly having a fantastic time throughout their performance.<\/p>\n

Before long, the snappy introductory percussion of \u2018Here Come The Runts\u2019 began, a warm and fuzzy synthesizer, and that wonderful opening line kicked things off:<\/p>\n

\u201cLet\u2019s start the magic.\u201d <\/em><\/p>\n

Pulling heavily from Aqu\u00ed vienen los enanos<\/em>\u2019 track listing, it wasn\u2019t long before Awolnaci\u00f3n<\/strong>\u2019s performance had the entire venue in a state of euphoric uproar; through the likes of \u2018Passion\u2019 and \u2018Miracle Man\u2019, or \u2018Seven Sticks of Dynamite\u2019 and \u2018Table For One\u2019, the band captivated and awed, magnified immensely in the enclosed Scala<\/strong>, and the audience drinking in every single second of it. And from the looks of things, the band were loving every moment of it too; from Aaron Bruno<\/strong> adoringly throwing flowers into the audience, to encouraging everyone to dance enthusiastically during \u2018Burn It Down\u2019, or moments where the vocalist vacated the stage completely to allow the band to perform instrumentally, such as \u2018The Buffoon\u2019 or a brief excerpt of AC\/DC<\/strong>\u2019s \u2018Thunderstruck\u2019. The performance of the moody titular track to second studio effort Correr<\/em> easily proved another highlight, the atmosphere hitting an wonderfully ominous note with Bruno<\/strong> crooning the gentle mantra \u201cI am a human being, capable of doing terrible things.\u201d <\/em><\/p>\n

Unfortunately as all good things do, it came to an end far sooner than anyone would have liked, but not before an extended performance of the band\u2019s iconic hit \u2018Sail\u2019, the audience in full force screaming along, Zach Irons<\/strong> throwing in a blistering guitar solo, and Aaron Bruno<\/strong>\u2019s repeated scorching screams of \u201cWe. Are. The NACION AWOL<\/u>.\u201d <\/em><\/p>\n

Be sure to catch Awolnation if they come through your city. This is a show you wont want to miss!<\/p>","protected":false},"excerpt":{"rendered":"

A few months ago I covered Awolnation\u2019s latest studio effort Here Come The Runts in a review here on AltWire, … Read more<\/a><\/p>\n","protected":false},"author":75,"featured_media":11042,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"episode_type":"","audio_file":"","transcript_file":"","podmotor_file_id":"","podmotor_episode_id":"","cover_image":"","cover_image_id":"","duration":"","filesize":"","filesize_raw":"","date_recorded":"","explicit":"","block":"","itunes_episode_number":"","itunes_title":"","itunes_season_number":"","itunes_episode_type":"","ngg_post_thumbnail":0,"footnotes":""},"categories":[2],"tags":[1534,1515,6,36],"class_list":["post-11041","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","tag-awolnation","tag-concert-review","tag-featured","tag-notables","generate-columns","tablet-grid-50","mobile-grid-100","grid-parent","grid-50"],"_links":{"self":[{"href":"https:\/\/altwire.net\/es\/wp-json\/wp\/v2\/posts\/11041","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/altwire.net\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/altwire.net\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/altwire.net\/es\/wp-json\/wp\/v2\/users\/75"}],"replies":[{"embeddable":true,"href":"https:\/\/altwire.net\/es\/wp-json\/wp\/v2\/comments?post=11041"}],"version-history":[{"count":0,"href":"https:\/\/altwire.net\/es\/wp-json\/wp\/v2\/posts\/11041\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/altwire.net\/es\/wp-json\/wp\/v2\/media\/11042"}],"wp:attachment":[{"href":"https:\/\/altwire.net\/es\/wp-json\/wp\/v2\/media?parent=11041"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/altwire.net\/es\/wp-json\/wp\/v2\/categories?post=11041"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/altwire.net\/es\/wp-json\/wp\/v2\/tags?post=11041"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}