Aitana surpasses her attendance record at the first of her four Sant Jordis concerts in Barcelona

Just a year ago Aitana brought together more than 45,000 people at the Estadi Olímpic, and this Friday he began to surpass that record with the first of his four Sant Jordis. “It's crazy,” said the artist herself, who recognized the nerves that singing “at home” causes her. And although Professor John Keating of Dead Poets Society already warned of the dangers of translating emotions into figures, there is no doubt that something exciting happened this Friday inside the Blue Room.

Divided into five blocks that run through the hours of the day, the show started with the dance heartbreak of February 6 that Aitana performed at a slow pace, lying on the bed in the blue room. Although in reality she could have done the handstand if she wanted, the public would have cheered her just the same, with the same force with which she sang until she was hoarse almost everything that was heard on the hot Friday night, where there were more fans than lightsticks, the luminous canes that many fans of the Catalan carried in the Korean style.

The stage, detailed and theatrical to the point of including a small dressing room, gave primacy to the screens, focusing again and again on the artist with calculated and continuous close-ups that matched themes that, like 24 Roses, she performed alone on stage, between scenic dominance and egocentrism. Sometimes the screens were the only way to follow the performance, in the case of the eponymous Blue Room, which she performed lying on the bed with curtains that hid her from the audience, visible only through the LEDs. Meanwhile, the corps de ballet mixed classical choreography with more static and scenic movements, highly rehearsed in Trankis, or Música en el cielo, dedicated to her grandfather, and which denote the influence of what Rosalía did on the Lux tour.

With no new material to present, the performance became an eternal return of the Aitana universe, the happy pop of Segundo Abierto, the flirtation of Duele un mucho to bid farewell to you, the disco sound of miamor – with the supposedly controversial sexual movement in the dance – or the obligatory guitar ballads like +, from their second album.

Dressed in light pink, angelic like her voice, with a tulle skirt and high-top boots, the protagonist undertook her show just as Bruce Springsteen performs Born to run, under threat of betrayal from his audience if he skips any steps. And an artist doesn't need to blow out 70 candles to add a patina of nostalgia to their songs. The retro sound of Los Angeles, the nineties references in Las Babys or the simple and magnetic rhythm of Mon amour sounded this way, as if they were many more years old than they really add up. The same thing happened with Vas a estarte, a melodic song far from the synth pop that predominated the evening, battered by the poor sound of Sant Jordi.

A list of consolidated pieces that since last summer includes Superestrella, the unofficial anthem of the World Cup that Spain won and that, after listening to it so much, has become another classic with which the artist closed her triumphant return to Barcelona.