Azkena Rock Festival is 15 years old. For 15 years, many very interesting groups have passed through the azkena room (now Jimmy Jazz), first, and then through the parking lot of Mendizabala. In recent years, however, the trend has been decreasing. Few interesting groups, on the pretext of attracting the crowd, which had been the Rock and the decorated shop window of their sisters, and with the respect of music lovers, were becoming the usual theme park of festivals.

This year, though, there was hope to see the poster. The Who in the lead, Hellacopters added at the last moment (replacing Primal Scream) and many other great names, and not so big.

On Friday, the most prominent were those who approached the American world, including, above all, Canadian Daniel Romano. A proposition deeply rooted in the rock of the 1970s and elegant songs. Follow closely.

Lucinda Williams was one of the great figures on Friday. He brought the simple band: drums, guitar and bass, plus. Simple, but strong. Except for an excerpt from Reggae, the Louisiana offered a magnificent cry against Donald Trump.

Hellacopters and Danzig were also among the great names, but they didn't meet people's expectations. The first ones played their first album in full, and they couldn't connect with the audience until they played a couple of more recent record songs. Danzig, indeed, we didn't see it. However, as the “chair” said, we did not lose anything.

Another of the surprises of the night was the New Orleans Luke Winslow King, who was supposed to work in acoustics, came with the electric group and gave us a great New Orleans blues exhibit.

On Saturday, Sumision City Blues and Cobra performed with Los Arms on Friday, representing the scene of Euskal Herria, and took the Basque (between songs and songs, yes) to the festival. Otherwise, it could be a festival of Murcia.

The Australian set was also formed with Radio Birdman and The Scientists, who acted in the afternoon. Irish Imelda May also brought us to dance with a sleek mix of rockabilly and country. It was a delight. But The Who came.

At 23:00, Daltrey, Townsend and company started working with
I Can’t Explain. From the beginning we passed through the mill and saw Pete Townsend with desire and strength. They played the last until Won’t Get Fooled Again, they offered us a nice repertoire of hours and a half, as they have where to choose. They were worthwhile and offered a show almost without tacks, and we enjoyed it.

I have the impression that the recent mediocre years have been turned around. That it has been successful in the choice of groups, and that, as before, it can become a reference festival if it continues to be so.