Pa’l Norte Virtual: Un punto y aparte en la industria del concierto por streaming en México

#IntraCassini es una sección donde el equipo de redacción de Cassini aborda un tema de interés propio con completa libertad, siendo un texto puramente opinativo, descubriendo el mundo de cada mente creativa.

Más de un año ha pasado ya desde el último concierto en vivo que pudimos presenciar como los recordamos, porque claro, ha habido un par de auto-conciertos en Ciudad de México y otros tantos en demás países con medidas sanitarias pertinentes, pero como tal, ya vamos para los 14 meses sin eventos masivos.

Para esto, llegaron al rescate conciertos por streamings, una idea que en un principio pareció descabellada e ilógica pero que calmó las ansias que ya teníamos, pero luego de casi ocho meses de conciertos por streaming pregrabados, la esencia iba en cierta decadencia.

Hacía falta algo: Más tecnología de por medio, efectos visuales que enchulen la pupila, así como una experiencia en general. Es obvio que este tipo de eventos virtuales no serían ni poco lo que un concierto en la vida real representa, pero el esfuerzo rindió frutos en la primera edición virtual de un festival que buscaba cambiar la manera de vivir los conciertos por streaming.

Además del reciente anuncio de la vuelta de los conciertos presenciales en Guadalajara con Porter, Sabino, Siddhartha y Camilo VII, aunado a la necesidad que no cubre en su totalidad un evento por streaming, resaltó la inquietud de si un festival como lo fue Pa’l Norte Virtual pudiese ser la excepción.

Siempre poderoso y virtualmente ascendente

Más de 15 países hermanos fueron testigos de un evento sin precedentes en todo el continente, pues Pa’l Norte apostó a grande por el primer festival virtual a nivel continental con una experiencia que osaba de ser similar a la presencial. El festival fue un tanto criticado por las previas y ya conocidas preventas que lo han caracterizado en los últimos, sin embargo, el recibimiento del evento fue bastante bueno.

El cartel fue ecléctico y variado, como ya es costumbre del Pa’l Norte, desde rock alternativo mexicano, reggaetón, electrónica, pop y norteño. El despliegue de tecnología se vio desde el ingreso al portal, una interfaz muy bien cuidada te recibía y te invitaba a formar parte de la experiencia, una que comenzaba desde entrar a la página.

El hecho de que el acceso no fuese a través de un hipervínculo lo hacía aún más disfrutable, y menos informal, claro, pues debías hacer un registro previo. 

¿Cercano a la realidad? 

Personalmente la existencia de un itinerario de artistas en sus respectivos escenarios hizo que volviese a sentir ese ligero enojo porque se me empalman dos proyectos que se supone que pagué por ver. Entiendo que esto es parte de la experiencia virtual que busca asimilar la presencial, y lo hace de maravilla, pero me resulta incómodo pensar que hubo gente que quizá solo pagó su acceso por, por ejemplo, The Hives y Mon Laferte, y tuvo que decidirse por ver uno de los dos. Sin embargo, es el riesgo que se corría, como en cualquier festival real.

Creo que este tipo de eventos online, en formato festival, no sería lo mismo si se ve en solitario que con tu grupo de amigos. Sí, cada persona disfruta los conciertos -streamings o presenciales- a su manera y está bien, pero en este caso en particular, creo que el Pa’l Norte era específicamente para verse acompañado, para encontrarle cierto sentido al estar sentado a una pantalla durante tantas horas.

El ecléctico pero nada arriesgado line up

No quiero sonar al cliché de «siempre los mismos», y menos en este caso, pero vamos por pasos. La propuesta de un Pa’l Norte Virtual con la tecnología que éste tuvo ya resultaba en un proyecto arriesgado como para también arriesgar en un line up un poco más variado a lo que hemos visto en los últimos tres años en el festival. Obviamente la organización optó por irse a lo seguro, con artistas que su público ya estuviese acostumbrado, y salió bien.

La gente de Apodaca Group sabe a quiénes va dirigido su producto, y es esta a la gente que se quiere satisfacer, no al internauta promedio que solamente irá a los comentarios a quejarse del precio de las entradas. Es normal. Pasará en lo virtual como en la presencialidad. Aunque, personalmente, te confieso que ya extrañaba estas batallas campales en los comentarios de Facebook en torno al cartel de un festival.

Creo que todo esto es lo que conlleva la experiencia de un festival presencial, es progresivo: Se anuncia la fecha, la gente comienza a teorizar el posible cartel, sale a la luz, se critica y se alaba por igual, se quejan de los precios, igualmente los compran, disfrutan del evento, suben sus historias y a dormir. Lo mismo pasó con Pa’l Norte, claro, teniendo en cuenta la experiencia del consumidor promedio. Los que son más estimados y cariñosos con el tema dieron fe y legalidad de este evento sin precedentes en los conciertos por streaming en México sea cual sea tu postura acerca del evento en sí.

Un punto y aparte

Independientemente si te gustó o no el festival, o siquiera si pagaste boleto, Pa’l Norte Virtual fue un experimento para ver qué tan redituable y exitoso podría ser un festival virtual de estas características. Este tipo de show rompe con los esquemas establecidos a los que ya nos habíamos acostumbrado con todo el bagaje de conciertos por streaming desde hace unos meses.

Resultó una experiencia fresca y en cierto modo innovadora, dándole un toque de dinamismo y albedrío al espectador de por dónde moverse y qué ver. La idea de hacer todo a través de una pantalla verde creo que fue la mejor decisión tomada, y más en este tipo de concepto donde todo es meramente virtual, donde no hay limitaciones físicas y tangibles para adornar un escenario, además la escenografía usada iba acorde a la temática y te sumergía dentro de un universo inmersivo que creaba en festival y cada acto en sí mismo.

En resumen: Pa’l Norte Virtual fue una propuesta enriquecedora, una que posiblemente será replicada por su éxito comercial y de recibimiento, además de su concepto arriesgado pero acertado. Hacía falta algo de este calibre y calidad en el panorama de conciertos por streaming, pues la dinámica ya resultaba monótona y cansada. Esto fue lo más cercano que hemos tenido a un festival presencial, la experiencia como tal fue única y levanta las expectativas por el regreso de los conciertos masivos.

La edición presencial sigue en pie para mediados de noviembre de este año, aún es incierto que suceda, pero tengamos esperanza.

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