We've seen it these weeks. Due to bad weather, at the last moment – and certainly after long discussions – the organizers of the EHZ festival have had to suspend the festival that throughout the year has been preparing with mime; the response, the tempest of solidarity in towns, cities and other places.

Something like this has happened to us in Vitoria-Gasteiz since mid-May: the mayor, after a bad night, sent a rainy morning to the Iberdrola workers protected by the Ertzainas to remove electricity to the Errekaleor neighbours. From there badakizkizue.Eta it has also created a new wave of solidarity.

Since the light was shed, the inhabitants of Errekaleor have received many visitors of solidarity, including many of the most significant groups in our environment: Joseba B. Lenoir, Anari, Berri Txarrak, Willis Drummond, Izaki Gardenak, Harresian Zulo… The City Hall would take such a sign for the festivities of Vitoria. But fortunately, there's still someone who can win the heels. A series of concerts cannot be arranged in money in such a short time and also in June. And without light, of course!

But why, at this time of claim, do you use the organization of live performances? What affects the listener to dedicate himself to singing above the table? And why do music groups also want to play so enthusiastically? I once heard a friend that climbing the board was a political thing. How, where, why, why, to whom, how many times, how long… You have to answer questions, make decisions. And when one of those decisions comes out of the yoke, something moves.

In the performances we have seen in Errekaleor, unusual answers have been given to these questions: See Willis Drummond with a Monday's head, free admission; listen to Ana with joy before starting to sing, for the opportunity that music has given her to meet neighborhoods like this, or Berri Txarrak playing in the closing act of a demonstration; or be Gardena, who should rest, stronger than ever.

Without public, however, there is nothing. We also have to ask the same questions as musicians, often unconsciously. Listening is therefore also political. To leave, we all knew what we were going to; that had not been given or taken anything.

The questions we answered were why and why. And the fact that everybody answered the same thing led to a static force that almost returned the electricity that had been removed with indifference.

It is feared, in these cases, that assistance will blur, that the euphoria generated by the show itself will cover the other. In this case, let us hope – I would like – that the river will make its way, a long way.