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laopiniononline · 4 days ago

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#Viña2025: Con rock anglo se completó la parrilla de artistas del Festival de Viña del Mar.

Nueva publicación en https://ct2.cl/hv

#Viña2025: Con rock anglo se completó la parrilla de artistas del Festival de Viña del Mar.

Los nuevos confirmados son “Incubus” y “The Cult”. Ambas bandas son consideradas verdaderos íconos del rock en el mundo y se presentarán por primera vez en el Festival de Viña del Mar el jueves 27 de febrero.

Este viernes 20 de diciembre, al medio día, la organización del 64º Festival de la Canción de Viña del Mar dio a conocer a los dos últimos artistas que completan el line up del certamen que se llevará a cabo desde el domingo 23 hasta el viernes 28 de febrero de 2025 y que ya cuenta con más de 55 mil entradas vendidas.

Incubus y The Cult se unen oficialmente al resto de estrellas de la música y figuras de la comedia que se darán cita en la Quinta Vergara este verano.

Incubus es una banda formada en 1991 en una pequeña ciudad llamada Calabasas perteneciente al Estado de California, Estados Unidos. Definen su música como rock alternativo y nu metal, que a la vez combina elementos del heavy metal, hip hop, funk y grunge.

La banda integrada por Brandon Boyd (voz), Mike Einziger (guitarra, piano, coros), José Pasillas (batería), Chris Kilmore (teclados) y Nicole Row (bajo), se caracteriza por sintonizar en conjunto un intercambio creativo entre los músicos y que en vivo, son capaces de transmitir a las audiencias al más alto nivel. Hasta la fecha, el quinteto ha vendido más de 23 millones de álbumes en todo el mundo y obtenido docenas de certificaciones multiplatino y platino por millones de reproducciones en plataformas digitales. Incubus logró seis debuts consecutivos en el Top 5 del Billboard 200 y han sido cabezas de cartel de importantes festivales como BottleRock, Ohana, Lollapalooza y Rock In Rio, además de realizar shows en los principales recintos arena del planeta.

En 2021 celebraron el vigésimo aniversario de su disco “Morning View”, considerada una de sus obras fundamentales y que fue celebrado con una transmisión en vivo a nivel mundial.

Sus canciones más destacadas son “Aqueous transmission”, “Nice to know you”, “Are You In”, “Whis you were here”, “Stellar”, “Pardon me” y “Drive”, entre muchas otras.

En la actualidad, Incubus viene desarrollando una gira internacional interpretando el disco “Morning View XXIII” (publicado este año), que es la reedición del famoso álbum lanzado en el año 2001.

Por su parte, los ingleses de The Cult, serán la otra banda que también estará presente en el certamen viñamarino. Los británicos surgen en 1983 y en sus cuatro décadas se han posicionado como el gran exponente del post punk gótico, con sencillos como “She sells sanctuary”, “Love removal machine”, “Spiritwalker” y “Rain”, entre otros. Su undécimo disco “Under the Midnight Sun” fue editado el 2022 y con él marcaron su regreso tras varios años alejados de los estudios de grabación.

Sin lugar a dudas, The Cult es la banda más emblemática del post punk británico y definidos en su momento como verdaderos conquistadores musicales del mundo con su particular propuesta. Diez discos componen el material discográfico de esta agrupación liderada por su vocalista Ian Astbury y el guitarrista Billy Duffy quienes dejarán en claro la historia musical que arrastran y de la cual será testigo el público del Festival de Viña del Mar 2025.

“El Festival de Viña siempre debe tener una parrilla en el que todas las personas se sientan representadas, confirmando estas importantes bandas de rock, nos vamos poniendo al día con diversas generaciones que crecieron con este estilo de música, que tenían este anhelo que me hacían saber constantemente. Debemos continuar impulsando y cuidando este patrimonio del país, recientemente premiado internacionalmente, que permite potenciar el desarrollo turístico y económico de Viña del Mar”, afirmó la alcaldesa de Viña del Mar, Macarena Ripamonti.

Incubus y The Cult se unirán a las estrellas musicales que actuarán este año en el festival latino más grande del mundo, encabezadas por Marc Anthony, Myriam Hernández, Morat, Carlos Vives, Duki, Bacilos, Ha*ash, Sebastián Yatra, Carín León, Eladio Carrión y Kidd Voodoo.

Viña 2025 se llevará a cabo desde el domingo 23 hasta el viernes 28 de febrero de 2025, siendo el primer año bajo la producción de Megamedia y Bizarro Live Entertainment. El Festival será transmitido a través de Mega y Mega Go. La plataforma Disney+ lo lleva a toda Latinoamérica y Billboard a través de su sitio web con especiales y contenido exclusivo al resto del mundo.

#Incubus #Noche Anglo #The Cult #Viña2025 #En Portada #Mega #Televisión y Espectáculos #Viña 2025

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lizzygrantarchives · 11 years ago

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Radio.com, August 16, 2013

As a remix of "Summertime Sadness" brings her to radio in a big way, we sit down with Lana Del Rey to discuss the past and the future.

By 10:30 p.m, almost 100,000 people have filed out of Chicago’s Grant Park following the first day of Lollapalooza 2013, held a couple weeks back. As the mass of coming-down kids move toward the exits, Lana Del Rey sits at a picnic table backstage, just far enough away from the noise. It’s so dark where she sits that until you come close enough to catch her eye, the only thing you can really see is the cherry of her cigarette. This post-festival scene is in stark contrast to her “pretty crazy” headlining performance earlier that night.

“I had to go around the world for two years just to have an audience in Chicago,” she told Radio.com. “I mean, I could just have been unpopular forever, that probably would have been a lot less tiring.”

A year and a half later, after all the panning and parodies of Born to Die have come and gone, there’s a touch of fame PTSD in how Lana Del Rey speaks about herself. She references her “not great welcoming into the American public eye,” but the truth of the matter is, we’re in the midst of the second coming of Lana Del Rey. When tastemakers grow tired, artists of a poppy temperament can try the most mainstream, “of the people” medium: radio.

Those who wrote off Lana Del Rey may be surprised to learn that she has a No. 1 song on a Billboard chart (Dance/Mix Show Airplay) this week. And a Top 5 (Hot Rock Songs, where she has multiple songs charting). And a Top 15 (Digital Songs). And, most noteworthy of all, a Top 20 on the Hot 100, where French house DJ/producer Cedric Gervais’ remix of “Summertime Sadness” currently sits at No. 16. Originally released on Born to Die, “Summertime Sadness” has been given new life through its remixes, with Gervais’ version racking up adds at Top 40 stations nationwide throughout the last month.

Meanwhile, “Young and Beautiful,” Lana’s contribution to The Great Gatsby soundtrack, is receiving airplay on alternative, not pop, stations. Radio isn’t quite sure what sure what to do with Lana Del Rey, but stations are playing her nonetheless. And not surprisingly, she couldn’t be more thrilled. She discussed all this and more in a meandering chat, including her plans for a new album, which she says have been thrown off by the recent barrage of leaks of her songs.

“To be honest, what really happened was, three years ago somebody remotely accessed my hard drive, so even songs I’ve never emailed to myself [were accessed],” she explained. “There are hundreds of them.”

Seeing your set tonight, it’s clear that your stage performance is more elaborate now than it was when you first started touring behind Born To Die, particularly because of the video vignettes. What were trying to achieve with this incarnation of your live show?

Well, I’m sort of influenced each day by whatever I come upon. Like I don’t listen to that much new music, but I actually really love Father John Misty, who kind of reminded me of my roots. I went back to listening to Joan Baez and Bob Dylan, whose life path really influenced my life path 10 years ago when I was 18. For the visuals, sometimes before the songs even come to me, I definitely have a picture first of something I want to paint with words. I remember when I was 16 and I read Howl by Allen Ginsberg; that was the first time I kind of realized you could paint pictures with words and I wanted to do that.

I actually kind of met my directorial soulmate with Anthony Mandler. I always give him these mood boards and storyboards that he goes through and makes all of the visions I have come to life. He never says no and he asks me why do I want it to be about the kindness of strangers, like in the case of “Ride” [the video/short film] — why am I with different men and things like that? I tell him it’s not about being submissive to men or anything like that. It’s about not really knowing anyone close to you who can help you, and being really lucky enough to finding people who you just meet randomly, who can take care of you until you can take care of yourself.

This is to say, the visuals kind of come from ideas that I think are important. But when it comes to the live show itself, that’s the one thing I really don’t think too much about. I’m kind of traditional in that way, where I don’t have much of a magic show. I’m just kind of there to sing and I don’t have too too much to say.

Something that struck me tonight was that I was standing among all of these young girls and I heard at least five times, “I want to be her.” This whole festival is full of girls in flower headbands like you’re wearing right now. Are you aware of these things?

Wow. Well, my reaction is that it’s pretty surreal considering I didn’t have a great welcoming into the American public eye. I kind of feel lucky enough to have written those songs for myself and to tell my own story to myself. I think it’s important to be a witness to your own life through writing. And for me, I thought that would be where it’s really going to end because I’m not going to be accepted — that is my fate. But I’ve learned to go along with things. I toured all over Europe, which was totally madness — a lot of people, big crowds. I was kind of leading a double life, ’cause I’d come home to America and things were very quiet — I’d go about my day and take care of my brother and sister who live with me. So in a way, I’m just glad that nothing’s going wrong.

Considering this young female audience you have, do you feel any pressure to be a role model?

Well I think the good thing is, I do actually aim to live my life with grace and dignity, if anyone felt like emulating it. I know I look a certain way sometimes, or cast a certain vibe. But I really don’t like to be in trouble. I like to live a good life, it is important to me.

At a certain point, though, doesn’t your act become performance art?

Well it’s kind of become that. When the audience gets bigger, it becomes less for you and more of a performance, even though I’m not really a natural performer. I love to write, I love to record in the studio – that’s what I love.

Speaking of, are you working on any new music right now?

I was until my record got leaked last week, ’cause my life is like completely invaded. But yeah, I’m writing songs that I really like right now. They’re really low-key and stripped back, all sort of West Coast inspired. The further along I’ve gotten, the more I stay working with like the same four people. Like Dan [Daniel Heath, who co-wrote “Blue Jeans”], who’s not into pop music but rather, a composer for scores and studied under Hans Zimmer. Him and my boyfriend Barrie [Barrie-James O'Neill, of Glasgow folk-rock band Kassidy]. But I want to work with Lou Reed, and I’d like to kind of keep things low-key and cool.

I think the thought was that some of those leaked demos were of songs you wrote much earlier in your career.

Well some of them were, but some of them, like “Black Beauty,” weren’t…

Are you going to move forward with work on them, or do you feel too discouraged because of the leaks?

I do feel discouraged, yeah. I don’t really know what to put on the record. But I guess I could just put them on and see what happens. Each time I write… I’ll never write a song if I don’t think it’s going to be perfect for the record.

That’s a lot of pressure to put on yourself.

That’s the way I kind of do it, which means I don’t write all the time. My muse is really fleeting. Sometimes it’s six months. I don’t really push it. ’Cause you have to go do things to write about. You have to go get into to trouble to write about it. (Laughs)

Do you feel like where your life is at right now is more conducive to writing music more organically than before Born To Die came out and you were so shrouded in hype?

Yeah, I didn’t like that. I don’t think it’s been conducive to writing, being on the road and all that. I don’t really feel inspired to write at all, but beforehand, when I was in Brooklyn for nine years… I was kind of a night owl and just walked around and met weird people. That was me picking up life experiences and meshing them into my own. That really did it for me. Actually, Lollapalooza is my last live commitment. It’s too bad ’cause it’s been such a long time since the last record. I really feel like I need six months to live again, time to be like, normal or abnormal. I don’t have anyone writing anything for me. It’s such an internal well and if it’s not full, it’s just not full.

You could work with outside songwriters. Are you open to that kind of thing a bit more now?

Yeah, I’m more open to it now, ’cause personally I’m not really feeling it. (Laughs) Like this guy I worked with eight years ago, Steven Mertens, who made my first record [editor’s note: David Kahne is credited as the producer of her debut, 2010’s Lana Del Ray a.k.a. Lizzy Grant; Mertens is a member of the Brooklyn band Spacecamp]. He knew me really well. So I’d like to maybe go back and get reminded of why I thought I could be anything other than a writer. I’d like to maybe just go back and see what’s there.

Let’s talk for a second about new music you have released relatively recently. Did you write “Young and Beautiful” specifically for The Great Gatsby soundtrack, or was that a song you had previously penned but not released?

I wrote a different song, but when Baz Luhrmann heard it, he asked me if I could I write a memory cue for Daisy. So I sang him a chorus of “Young and Beautiful” that I had already — just a chorus — and he thought that’d be good for her. I wrote the whole thing after I watched her garden scenes.

Were you happy with how it was incorporated into the film?

Yeah. I mean, I’m always wary about super big projects that have a lot of glitz. But something weird that happened, was that “Young and Beautiful” got picked up by alternative stations. I come home [from touring Europe] after four months and “Summertime Sadness” is on the radio, too. So I’m grateful for that, ’cause I love that song.

I want to go back to something you said earlier. You acknowledged that you didn’t have a great welcoming into the American public eye, but now, a year and half after Born to Die came out, you’re connecting with a new audience via the “Summertime Sadness” remix at Top 40 radio.

It just reinforces the fact that… not that nothing really matters, but that other people’s opinions don’t really matter because it can change on a dime. And if people are so ready to change, maybe they don’t have the strongest character. I’m not as interested in flip-floppers. I kind of feel blessed the more I go along. I have a young brother and sister, and it’s gotten really basic for me and become about the family. How are we all going to live together if I’m on the road? Are they going to come with me? Will I ever go home again? Probably not.

My new product manager, whom I’d never met before, brought me a SoundScan to show me that “Summertime Sadness” was being spun, a lot of times in L.A. and in New York. It kind of just doesn’t feel like it’s mine, ’cause I’ve had such a hand up to my face for so long.

Originally published on radio.com with the headline Lana Del Rey on the Leaks, the Imitators & the Haters.

#2013 #Paradise #Radio.com #Jillian Mapes

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chorusfm · 1 year ago

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Thirty Seconds to Mars Announce Tour With AFI

Thirty Seconds to Mars have announced new tour dates. AFI, Poppy, and KennyHoopla will be on select dates. 03/15-17 – Buenos Aires, AR @ Lollapalooza Argentina 03/15-17 – Santiago, CL @ Lollapalooza Chile 03/21/24 – Bogotá, CO @ Estéreo Picnic 03/22-24 – Sāo Paulo, BR @ Lollapalooza 03/30 – Monterrey, MX @ Tecate Pa’l Norte Festival 04/16 – Glasgow, UK @ OVO Hydro 04/17 – Nottingham, UK @ Motorpoint Arena 04/19 – Manchester, UK @ AO Arena 04/20 – Birmingham, UK @ Utilita Arena 04/22 – Cardiff, UK @ Utilita Arena 04/23 – London, UK @ The O2 04/25 – Amsterdam, NL @ Ziggo Dome 04/26 – Brussels, BE @ Forest National 04/27 – Hannover, DE @ ZAG Arena 04/29 – Cologne, DE @ Lanxess Arena 05/01 – Stockholm, SE @ Hovet 05/02 – Oslo, NO @ Spektrum 05/04 – Copenhagen, DK @ Forum Black Box 05/09 – Krakow, PL @ Tauron Arena 05/10 – Bratislava, SL @ O’Nepela Arena 05/12 – Hamburg, DE @ Barclays Arena 05/13 – Berlin, DE @ Mercedes-Benz Arena 05/15 – Prague, CZ @ Sportovni Hala Fortuna 05/16 – Budapest, HR @ MVM Dome 05/18 – Vienna, AT @ Stadthalle 05/19 – Munich, DE @ Olympiahalle 05/21 – Paris, FR @ Accor Arena 05/22 – Zurich, CH @ Hallenstadion 05/24 – Bologna, IT @ Unipol Arena 05/25 – Turin, IT @ Pala Alpitour Arena 05/27 – Madrid, ES @ WiZink Center 05/29 – Lisbon, PT @ Altice Arena 05/30-06/01 – Galicia, ES @ O Son do Camiño 07/26 – Auburn, WA @ White River Amphitheatre * 07/27 – Ridgefield, WA RV @ Inn Style Resorts Amphitheater * 07/30 – Salt Lake City, UT @ USANA Amphitheatre * 07/31 – Morrison, CO @ Red Rocks Amphitheatre * 08/02 – Maryland Heights, MO @ Hollywood Casino Amphitheater * 08/03 – Nashville, TN @ Ascend Amphitheater * 08/06 – Clarkston, MI @ Pine Knob Music Theatre * 08/07 – Cuyahoga Falls, OH @ Blossom Music Center * 08/09 – Noblesville, IN @ Ruoff Music Center * 08/10 – Chicago, IL @ Huntington Bank Pavilion at Northerly Island * 08/12 – Toronto, ON @ Budweiser Stage * 08/14 – Camden, NJ @ Freedom Mortgage Pavilion * 08/15 – Columbia, MD @ Merriweather Post Pavilion * 08/17 – Brooklyn, NY @ Barclays Center * 08/18 – Mansfield, MA @ Xfinity Center * 08/20 – Charlotte, NC @ PNC Music Pavilion * 08/21 – Atlanta, GA @ Lakewood Amphitheatre * 08/23 – West Palm Beach, FL @ iTHINK Financial Amphitheatre * 08/24 – Tampa, FL @ MIDFLORIDA Credit Union Amphitheatre * 08/27 – Dallas, TX @ Dos Equis Pavilion * 08/29 – Houston, TX @ The Cynthia Woods Mitchell Pavilion * 08/30 – Austin, TX @ Germania Insurance Amphitheater * 09/01 – Phoenix, AZ @ Talking Stick Resort Amphitheatre * 09/04 – Mountain View, CA @ Shoreline Amphitheatre * 09/12 – Melbourne, AU @ Rod Laver Arena 09/14 – Sydney, AU @ Qudos Bank Arena 09/17 – Brisbane, AU @ Riverstage 09/19 – Auckland, NZ @ Spark Arena * AFI, Poppy, and KennyHoopla --- Please consider becoming a member so we can keep bringing you stories like this one. ◎ https://chorus.fm/news/thirty-seconds-to-mars-announce-tour-with-afi/

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yearsblog · 6 years ago

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Years & Years - Lollapalooza Chile - 30/3 (© John Goldsworthy)

#olly alexander #pics #pst #lollapalooza cl #300319

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vilaneeve · 3 years ago

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Petition to get Rina Sawayama to tour latin america 🥴

#lollapalooza 2022 #cl ar br #let's gooooo #like i need her

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warmglowofsurvival · 2 years ago

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#twenty one pilots #twentyonepilots #tyler joseph #march #march 19 #march 2023 #march '23 #2023 #lolla cl #lollacl #lollapalooza #lolla chile #lollapalooza chile #lolla

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bisexualhobi · 3 years ago

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there's gonna be SO many non-armys tho, this is something new and scary, he must be so stressed but also so excited, this is such a huge opportunity! do you think the audience's reaction will be good? i've seen some bad comments on insta but i hope people who go there can appreciate great music and won't scratch him out just because he's a ''kpop boy''. i really really hope it goes well for him!!!!

It really is unprecedented for bts and for kpop acts that tour in general - the gp is a much more tough crowd to work unless you're like gdragon or something lmao. jackson, cl and aespa did a great job at coachella but they were not headliners and they were part of a bigger set but hoseok IS the main attraction here... he's getting prime time.... it's definitely a challenge and especially with bts' reputation and the fact that they're a boyband is not gonna bode well w snobby festival goers. (see the hate comments already pouring in)

the thing is that if it was any other kpop group this would be much easier. they would be virtually unknown to the gp and w no background to base their opinion on they'd be more open minded - but bts is currently exploding in the cultural zeitgeist and the gp is aware of bts even if they don't know who they are which is enough to dislike them. so hoseok already has an uphill battle to start with bc he needs to change the minds of an audience that is already there for someone other than him and that chances are looks down on "manufactured korean boybands". he has one hour to change that.

the good thing about it is that it has a bigger payoff - if he manages to pull this off with this performance he will have succesfully crossed over to the gp demographic and gain a lot of street cred as an artist. something that bts has never done and probably never will. that's why i said hoseok is the only member that could have done this right now - he has enough stage presence and ability to work a crowd this size on his own, plus his music is different enough from kpop and from the bts sound to blend in with what lollapalooza's demographic actually listens to...

this is definitely scary and probably intimidating for him. i would be shitting my pants if my first solo performance was in front of 200 thousand people who did not pay to see me. but i believe that hoseok has the skills and talent to be able to capture a non fandomized audience and to cement himself as a performer to look out for - if this goes well for him he will have positioned himself as an artist with his own identity outside of bts, all with a single day's performance.

#asks #hoseok #hobi

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iss4dora · 3 years ago

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Sunset at Lollapalooza CL 🌅

#photography #chile tumblr #chile #aesthetic #lovers #photooftheday #colors #music #sunset #saturday #beautiful photos #sunset pics #lollapalooza #concert

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laopiniononline · 14 days ago

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Joe Vasconcellos iniciará el 2025 en Trotamundos de Quilpué

Nueva publicación en https://ct2.cl/h6

Joe Vasconcellos iniciará el 2025 en Trotamundos de Quilpué

El gran cantautor chileno estará el sábado 11 de enero en el principal recinto musical quilpueíno inaugurando su tradicional ruta veraniega de presentaciones, agenda nacional que tendrá un cierre estelar en la próxima edición de Lollapalooza celebrando los 30 años de su clásico disco ‘Toque’. Las entradas para su concierto en el Trotamundos están a la venta a través de Passline.

Cantautor del fin del mundo, Joe Vasconcellos posee un cancionero gozoso y accesible con un sonido patentado y legado personal indiscutible en la música popular y en el rock chileno. Voz de una veintena de grandes éxitos que no pierden originalidad y mantienen su energía y vitalidad en sus shows en vivo. Una trayectoria que ha valorado y promovido tradiciones, la temática medioambiental, la multiculturalidad y conexiones estilísticas (como el cruce del rock con la cumbia chilena) y que desde hace décadas disfruta de la aprobación y cariño del público, popularidad que Vasconcellos construyó a pulso recorriendo los distintos escenarios del país.

Actividad en vivo que el músico mantiene intacta desde su regreso a Chile a principios de los años ’90 y que continuará este 2025 con un show en el Trotamundos de Quilpué (entradas disponibles en Passline) inaugurando su agenda de verano que continuará por varias ciudades y que tiene un cierre programado el viernes 21 de marzo en el festival Lollapalooza en lo que será su regreso después de 11 años al evento y con un show especial dedicado a los 30 años del disco ‘Toque’ (1995), un álbum clásico de la música chilena que desprendió una serie de éxitos como ‘Mágico’, ‘Las Seis’, ‘Sed de Gol’, ‘Sólo por esta noche’ y otros.

Tres décadas después Joe Vasconcellos, reconocido con el Premio a la Música Nacional Presidente de la República 2023, es uno de los músicos más exitosos, admirados e influyentes en la música chilena. Es el autor de grandes himnos como ‘Hijo del Sol Luminoso’, ‘Mágico’ o ‘Huellas’ entre tantas otras populares canciones que marcaron la década del ‘90 y que han trascendido intactas conquistando a nuevas generaciones de público y también como referencia para otras bandas y cantautores. Temas festivos dotados de variedad rítmica y una inteligente alegría, varios éxitos acreditados en el cancionero chileno como ‘Las seis’, ‘Solo por esta noche’, ‘Preemergencia’, ‘La funa’, las acústicas ‘Ciudad traicionera’ y ‘Volante o maleta’ o su versión del bolero ‘La joya del pacífico’ hasta éxitos más recientes como ‘Ser feliz’ que son parte de su contundente espectáculo en vivo.

Chileno con mirada multicultural, en su música recopila influencias de distintas naciones donde ha residido (Brasil, Ecuador, Italia, Japón) fusionando ritmos latinoamericanos con instrumentos del rock, folclore y la cultura mapuche, entre lo rítmico y la canción de autor. Vasconcellos es un compositor multiinstrumentista que en su repertorio combina la samba, el candombe, cumbia, folclore, blues, reggae, funk y latin-jazz con una mixtura de sonidos caribeños, afrolatinos y Worldbeat.

A principio de la década ‘80 Joe formó parte del grupo Congreso y fue la voz en dos de sus discos (‘Viaje por la cresta del mundo’ y ‘He llegado carta’) para después viajar por otros continentes como músico de sesión para destacados artistas (María Creuza, Luizão Maia, Geraldo Azevedo, Zizi Possi) y producir en Brasil su primer disco solista ‘Esto es sólo una canción’ (1989) y a principios de los años ‘90 en su retorno a Chile el álbum ‘Verde cerca’ (1992).

Un recorrido que a la fecha suma 7 de discos de estudio, tres EP, dos discos en directo para DVD (‘Al mal tiempo buena cara’ y ‘Mágico el recital’), el mítico álbum ‘Vivo’ y el más reciente ‘Huellas, una vida en vivo’ (2020) grabado ante un completo Movistar Arena de Santiago y que contó con destacados invitados de la música nacional (Manuel García, Quique Neira, Denisse Malebrán, El Macha Asenjo, entre otros) editado en versión digital y LP. En los últimos años con el resurgir del formato vinilo también se han reeditado en LP los discos ‘Toque’, ‘Vivo’ y ‘Verde Cerca’ como obras imprescindibles de su repertorio y del cancionero nacional.

Mientras que como músico ha colaborado en una treintena de discos chilenos (Tiro de Gracia, Fiskales Ad Hok, Los Jaivas, Chico Trujillo, Gondwana) y con el dominicano Chichi Peralta entre otras participaciones como su grabación en vivo junto a Mercedes Sosa (‘Induce’), un cantautor activo que se nutre de la interacción con otros artistas y comparte su experiencia junto a distintas generaciones (Pascuala Ilabaca, Cami, Santaferia, Moral Distraída, DrefQuila), siempre con un sello de calidad musical y humana.

Desde 1992 ha recorrido Chile ininterrumpidamente, de norte a sur, además de presentaciones internacionales en escenarios latinoamericanos, Estados Unidos y Europa, destacando su participación en grandes eventos como el Festival de Viña del Mar (con una de las actuaciones más recordadas en la historia del certamen) en tres ocasiones como artista invitado y los festivales La Cumbre del Rock Chileno, El Abrazo, Lollapalooza hasta el evento de cierre de los Juegos Panamericanos 2023, además de gran parte de los festivales que se realizan en provincias y a lo largo de las regiones de Chile. Su plena actividad en conciertos es prueba de su vigencia y evolución con un espectáculo sólido y enérgico.

#2025 #Joe Vasconcellos #Lollapalooza #Quilpué #Toque #Trotamundos #Música #Música chilena #Provincia de Marga-Marga

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