Engel greeted us in French and Dutch, as One The unwritten law in Brussels stipulates that… uh…. She emphasized how excited she was to be able to play in her hometown. Okay, but we weren’t right from the start.
It took Anghel three songs to rectify the square, not surprising with the first radio single in the set being ‘Oi ou non’. The ‘tout aublier’ also went well, it’s just a pity that brother Romeo Alvis didn’t turn up to sing his part live – something that’s not an unnecessary luxury at home matches like this. The people of Brussels are happy to be of service in this area at his behest.
Good Visual Discovery: The pink rollercoaster track that wound up from the video screen to the stage, a nod to the cover of her most recent album Nonante-Cinq, Engel’s life since his breakthrough may have felt like a rollercoaster ride, but the show certainly wasn’t from start to finish.
Initially we had a little trouble with the general impression. We understand Angel can’t live up to the flashy DIY show from her early days, but her CORE concert was keenly borrowed from great international examples. Stiff choreography, dominatrix dancers, mechanical lightweight reggaeton of songs: we’ve already heard or seen it with Britney and Katy Perry, with Lady Gaga and Dua Lipa. Bowing to the clichéd stereotypes of the pop industry makes Engel seem less free-spirited than she really is.
It wasn’t until halfway through the show that things picked up speed. For example, ‘Je Veux Tes Yeux’ was transformed into an upbeat dance and received an outro in which the dancers broke into breakdance. For ‘Amour, Hine & Danger,’ Engel wore a silver babydoll that would make Kylie jealous. It was awesome campy.
For ‘Ta Rein’, the singer draped the rainbow flag over her shoulders thus encouraging the LGBTQIA+ community. Quite a few people rocked back and forth on the field, singing in a controlled manner: “Mies tu bidras quel soit ta reine si soir / meme si deux reins, c’est pas trop accepte”. Good.
While ‘Balance Ton Quoi’ saw the youngest fans take on the patriarchy in extremely melodic tones, ‘Demons’ saw Brussels rap emperor Dumso actually appear for his featured live rap. ‘Bruxelles J Time’ was the dream closing note not only for Angell and his audience, but also for Cor, who aim to create a greater affinity with the musical fabric of our capital with their second edition.
Anyway, Engel is now not only from Brussels, but also from the rest of the world. No cat suspects.
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