Kutixik Non
Festival: In the Casa de Cultura de Intxaurrondo, in San Sebastián.
When: 26 October.

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It is a musical initiative that emerged in Donostialdea and aims to "collectively confront the music industry that wants precarious, lonely and small musicians, and offer alternatives to musical groups outside the trajectory that they want to impose". Anchored in mutual support, the collective performs very varied activities, from self-production publishing records and organizing festivals, direct events and conferences. One of them is precisely the Kutixik festival, which after two successful editions has exhausted all the entries for this third edition.

With the progressive influx of people into the room, the Neu Troia group has begun to create a melancholic and introspective atmosphere. The room is filling up and you hear a confusing murmur that prevents you from listening to what is occasionally said from a micro. It is a music that requires presence and calm, and yet the proposal of the direct can be dangerous. Charm of Danger, for those who are willing to penetrate into the fogs.

The black curtain has been reopened and Mirua is on the stage, at the penultimate stop of the stage, started in 2020. Mix melodies and classical pop instruments, India and electronics. In the first part of the video, technical problems have made it difficult for musicians to find themselves comfortable and have unreservedly shared their sensations with the public. I didn't like music, but I did like their attitude, that of being on the scene in the Non-Dials Days.

Before the third group begins, the room is already up. The soundtrack of the film Bañolet is the project of Bloñati, a group created to create it. The universe created for the film is a poetic and special setting; from cradle songs, a game of movements to the metal, with a mixture of intensity and color. And that game has left us the most beautiful taste of the night: the icy silence of a group of hens and humble eyes, watching the magic of Maia Iribarne and Paxkal Irigoyen through the song Eihera. At the end of the day, a cry cast from the depths of the public breaks the silence. “Uala!” I've finished the direct with a chilling, chilling cold that runs after a discovery.

The trio Tatxers has been in charge of turning around the night. The hymns, the melodies, the battery and the swords have all shined and offered a great direct. They have offered us, once again, an oasis in the center of the city.

The last great favorite of the festival was Mice, which has become a poster head. Sign in calm, on an interstellar journey. But the night has advanced in the atmosphere and the murmur has reappeared. We even heard cries of silence among those who danced. And there have been those who, beyond the murmur, have come to tell the musicians what they played and what they did not. The concert has ended by thanking the feminists who have stood before those men’s voices.

I remember Laurent Garnier and David Brun-Lambert. In Electroshock, they affirm that a dance floor is never a neutral place, especially a space of freedom and transgression that, unlike other places, gathers the challenges faced by each new generation. One of our challenges may be to build and preserve the oasis with qutixies in the center of the city, and to bring out from there the accustomed humanity to occupy the oasis.