On May 9, Drift and Futuristic Children went on the stage in the temple, in the bar LeBukowski (surrounded by beautiful photographs of Iñaki Peman). It only fit for 30 poor people, and as the entrances were sold in the air, they did two rounds. In much of the solo's musical career, it would be considered a success to have about thirty audiences. I remember, chives, a concert he played in the Complot bar; we would be a dozen sitting and his sister came surprised by asking us what we were doing there; we still, young and even green, and we were talking in Euskera. But, as is known, death beautifies life, and in these tributes there has been on several occasions the duplication of concerts and yet the exhaustion of tickets. Evidently, he did not throw the title Paradoja into a record of his.

So, at what time and at 16:30 we went to a concert that honored Berrio, and I couldn't help but imagine the guy, wherever he is, a sardonic smile on his lips. I started following her trajectory on the album Harresilanda de Drift (distributed by Gaztelupe Hotsak) and heard updated songs from the pre-Rafaelita era I wanted, the old Rafa Berrio. Members of this group, Alberto Bosch, Borja Iglesias and Jon Intxausti, were the first to rise to the stage with the help of Mariano Hurtado (keyboard) and Usoa Uribe (voice). They started with the song The Skin at Strips (Azala tiratan), which starts from the wall, and they interspersed songs from this album and from the previous Escape Plans. The discs with each other are quite different in terms of production; the first has an electronic tone that has aged quite badly, the second tends towards the sotilago pop, and in this case the group gave the songs a tone lourdes (Lou Reed, one of the main references of the singer, if not the main one), although there were also spaces for more paused songs like Bronca (La Guerra). Not in vain, they finished their bolus with a version of the song Femme Fatale.

Children Futures was the name for the leisure of the group formed by Pablo Fernández (voice) and Toni Medina (guitar), Andoni Etxebeste (drums), Ikerne Giménez (bass) and Rumano Power (keyboard and guitar) from Grande Days. Berrio recovered in recent years live some of the themes of Drift, such as the round misanthrope song Perfect in solitude (Bakardadean bikain), focusing mainly on the album Paradoja, and taking the songs to the rock & roll that Los Braco has, playing with My dead ayeres (Yesterday deceased).

There was also room for another paradox. In this situation it was difficult not to agree with that night of 23 April five years ago: Berrio hit in Bukowski (no fraks, of course), and for that memorable concert the bar was fined, because inside there were more people than the capacity allowed. 2016 was a cultural year, and from there, unlike in previous years, the facilities for organizing concerts in bars were good. There was nothing to capitalize on.

The concert offered at Victoria Eugenia on May 19 (and 20) was very different, more professional, with more means, at more price. But the paradoxes were still there. He was never able to play as a soloist in Victoria Eugenia. With Amor a Traición touched the 80’s in the Main Hall, where he was also his last solo in October 2019. Adios a la bohemia (Bohemia's farewell), opera by Pablo Sorozabal and Pío Baroja, with Joserra Senperena, was premiered at the Victoria Eugenia. But his life did not give him the chance of death.

The tribute consisted of a concert musically directed by Senperena and in which his work also stands out. It is no easy task that a concert involving so many music (and so different from each other) did not fall into the shot, and in the poster (Rafa Rueda, Charly & Pavlyuchenko, Amateur, Virginia Pina, La Oreja de Van Gogh, Petti, Paul San Martin, Sanchvasís and Jocano, that first danger, Murita. However, it did not happen. And this was made possible primarily by the work done by the team of Senperena (piano and organ), Joseba Irazoka (guitar and voice), Karlos Aranzegi (drums) and Lutxo Neira (bass and bass). In most songs they were the band, and the theater of the musicians and the arrangements of the brilliant and coherent songs made the quality to be the same level as the homenaje.Fue precisely the perfect occasion to see that the difference with mainstream is not random or discursive: Van Gogh's Ear performed the version of The Ballot Boxes Change (The Situation Changes), and although it worked correctly in her record, the difference with the others was remarkable, both in arrangements and in execution.

There were many good things that could not be highlighted, but I especially liked the adaptations of Dyn The principle of a good streak (beginning of the good streak), with Amateur, and the very transformed I do not intend to go further to the center (I will not go further down to the center), with Diego Vasallo.

It was the last trip to the city center, by the way, to Victoria Eugenia. Well, now you know, the stake also gives you good, buddy.