Dellafuente closes a chapter in urban music by turning the Metropolitano into his Andalusian temple.

Either the whole world, or nothing. Dellafuente kicked off his debut at the Metropolitano in Madrid this Friday with a remix (already a classic in his repertoire) of PNL's Le Monde ou Rien . Thus, the Granada native introduces himself on the first of his two nights at the Atlético stadium with an anthem about isolation in the slums of France, while deploying the metaphor of his triumph with an opening followed by the UEFA Champions League anthem: gathering some 130,000 spectators over two consecutive days, today he is the champion with the world in his grasp.

At times, it seems as if the singer's career, historically linked to a mystique of its own, has been premonitory: there are some shirts from the local football team and others from the also red-and-white Granada CF, although almost all of his followers are dressed in their own uniform: Dellafuente FC, the fictional football club that the rapper has invented to design his merchandise . They wave their scarves in a committed audience that poetically fits very well with the venue: they are true fans and, as in any large community, the feeling of belonging is more intense the longer they've been there. "Who here listened to me before Consentía (2016)? And since Guerrera (2017)?" asks the Granada native during the first break in his concert.

Without getting too biographical, the massive event taking place this weekend is a self-tribute to his entire discography. Both concerts, which were actually scheduled to be one at the Santiago Bernabéu , mark the end of a decade in the recording career of Pablo Enoc Bayo, one of the greatest champions of urban music in Spain. He himself describes the concert as "the closing of a chapter," as after this weekend he will take an artistic break: "I'm a very different person than I was when I started," he comments, adding that many of the songs that were heard no longer represent him as much.

It's hard to make it difficult: in 2015, Yung Beef was part of Pxxr Gvng and C. Tangana was a member of Agorazein . Everything that is now known as urban music was called trap and, with the pejorative component that the term itself implied (due to its strong sexual component or formal codes far removed from interpretive excellence), the scene was reduced to a niche. Dellafuente mixed in his proposal the sounds of the genre from Atlanta with an Andalusian aesthetic: at the same time, he was much more metaphorical than his colleagues and barely any of his songs have an explicit content filter within streaming platforms. Nor does he boast like his colleagues in the guild: it is difficult for him to give an interview and he makes a point of covering his face with a cap and glasses whenever he has an event. His codes have permeated more easily into the multitudinous musical mainstream, and now he is the living embodiment of the triumph of urban music. Lola Indigo, who performed in the same plaza a week ago , has also flirted with the genre now that it's merged with the mainstream , but Dellafuente enjoys the respect that comes with being there from the beginning: she saw the birth of the genre and started in her own neighborhood. That determines who she is in a sphere where authenticity is so important.

In his case, this authenticity is determined by his love for his homeland. Enoc mixes rumba with autotune, house , and reggaeton. On a gigantic fountain shaped like a Tartessian star, the singer strolls and shapes the blocks with which he presents his discography: in the first of these, more focused on the presentation of Torii Yama (his latest album release), Judeline and Lía Kali took the stage to perform Romero Santo and Fosforito , respectively. Romea y Julieto had its own kiss cam , and to bring the stadium format (often imported from the American entertainment model) closer to its place of origin, it was even adorned with a tiled design typical of the city of the Alhambra. Pepe and Vizio sang Flores and Flores Pa Tu Pelo , closing out the first half that gave way to a fire show.

Dellafuente also remembered Taifa Yallah, his parallel flamenco-rock and Islamic-inspired project, for which he enlisted a live band. Even Rels B , who appeared to sing "Buenos Genes," propelled by a platform that rose from the ground in true Super Bowl style, did so seated on a Moroccan-designed bench that also housed a hookah. Paradoxically, the greatest musical show the Granada native has given to date is also the one in which he most closely seeks to get back to his roots, in a constant contradiction over how to fit markedly street-style codes into the overstimulating superproduction of a show of this caliber. The second half of the concert leaned closer to an electronic spectrum in which, alongside DJ Antonio Narváez at the epicenter of the star, Amore with Malicia and RVFV with Cuéntamelo also joined the band.

The final block, of course, was for Morad (the guest most celebrated by the audience) and his "Manos Rotas ," the last big hit from both artists. The last song, however, was "Consentía ," his first major success, or the first step in a path that has not only brought him here, but also an entire generation of artists who grew up on the margins to define the sound of an entire generation. With that first anthem, a circle closes: this weekend marks the end of an era, but tonight is the second (and final) round.