It was 1999, in the spring. Concert at the Plaza de la Trinidad in San Sebastian: On the edge of the road and... The enemies. The enemies. And to tell you the truth, we were mainly going to see the second group. Little is known about the other, “The new group of the Devils in Teilos,” said a friend. They had just released their first album (if I’m not mistaken) and that night (on this one I’m not mistaken) the audience received them a bit cold. Not to speak in the abstract: we had them. And more specifically: I told them.

The animal is capricious in taste, but with time it always returns from the paths that it has traveled before. If you have patience, it gives you a second chance to hunt. Eleven years later I had become a career soundtrack on the Camino Fría, I had seen them live, but never in San Sebastian. And the opportunity to touch near the Trinity, at the Victoria Eugenia Theater, last Thursday.

The Tolos started the program with the songs of the album Don Inorrez and we soon realized that it would not be similar to the concerts that we normally see. That I had something else. The stage, the images projected on the rear screen, the storyteller capacity that Imanol Úbeda showed in the intervals until the tuning of the acoustic... at times it seemed like a movie; a show of great chromatic richness. As you say when they started playing, a vivid red took the background, the musicians shadowed, reminding us of a scene from Quentin Tarantino’s Kill Bill.

The sound was also very good, it allowed us to notice the smallest nuances of the songs. It sounds silly, but it depends and in which song it can make a difference. For example, Gorka Urbizu I will not go back to make the second voice that was invited to the stage in the song and we heard it perfectly in the background of Ubeda. Unfortunately, it seems to me that it is not common to have this type of technical resources in the concerts of Basque bands; we miss them for not being rich in quality rooms, many details of music.

And to highlight how Joserra Senperena wears the work of the four members with hammond (mainly) and other keys, creating moments that approach psychedelia. The only “but” of the concert, I would say, was the version of Xabier Let that I am. It will be because I have too much nailed down the original that Oiartzun sang in a shrunken voice, but I wasn’t entirely convinced by the version of Camino Ertz.

In the rest chapeau: Songs like Hotel Bel-Air or Badator Dia are already classics (by the way, this time the painting of that first song was from Zumeta, the album was from Demons) but they happily marry those of Don Inerrez. It's not surprising. Last week the musicians we saw at Victoria Eugenia won the name Don Somebody a long time ago.