The room didn't fill up, but a lot of people came up to see the performance of these three great women. Irundarra Eneritz Furyak was in charge of starting the concert, with her particular creativity and humor. With the guitar in the hand and the effects on the hand, Emadam, about to go out into the street, began to present his new album with several new pieces. Calm fears that are your brand, with ups and downs of strong voice, jumping, enriched. He likes to play with the voice and the melodies and that's how it's started again. In addition, he recovered the round White Horse and the memorable Desperté, which was brought without guitar to the electronic environment, and also explored the burlesque and soul. He proved to be an artist with his own voice.

After the concert, Donostiarra Sara Zozaya went onstage, accompanied by a very fine guitar and drums, which have been with him for a long time, forming a round power-trio. Presentation of the latest work Objective I. Zozaya's offer seems rather subtle, but hides a lot (and sometimes flattering): it whispers with the keyboard, embodies the melody and is able to increase the intensity gradually until it reaches post-rock the size of PJ Harvey. The Basque language is one of his favorite languages, but has numerous stylistic and linguistic registers: he plays with electronic, progressive and expiratory environments, he dares shamelessly with the auto-tune, gets good results, he defends himself well also in Spanish, and in English, besides round mainstream songs, he also achieves dark, heavy and distorted environments with guitar in hand.

The last performance of the afternoon was that of María Berasarte, and in the first blow the public left us out of play. This woman dressed in classical music, who has researched dozens of cultures and music, began the concert with a song based on the experimentation of the voices, reaching the sound of didgerid David Azurza by her side. Soon, Joseba Irazoki joined her to weave guitar, textures and environments; and later, the veteran drummer Igor Telletxea added subtle but rich rhythms. After making a nod to the Amazon culture and warming up his voice, he merged fates and pieces of the Basque songwriter (Txoriak kantari), but from time to time he made a hole to rockabilly, to the pop-rock (The longest night) and to darker environments; and he ended up with an emotional Urzapal by Pierre Topet Etxahun.