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“The suffocating house monopolized part of Spiteri‘s interventions, which showed a fan wiht the overprinted lyrics of *Very hot* And the guitarist’s jacket in the middle of the concert before the general stupefaction started laughing. After an asphyxiating June that has pulverized all the thermometer records, the month of July premiered in the axerchy, foreshadowing new little reassuring records.”
“Texas did not get out of the planned script and at the time of the Spiteri concert he was preparing the public for the final traca. With the acclaimed *Say what you want*which accumulates in Spotify almost 149 million listeners, began the countdown of a show that was at the height of one of the most scaling festivals of the peninsular calendar. *Inner smile* Electrical and blunt in full communion with the stands before the exciting tribute that Texas taxes every night to Elvis Presley and its mythical *Suspicious mind*.”
“Texas integrates that payroll of the Bands of the late eighties that billed digestible and neatly packaged songs. The surround voice of Sharleen Spiteri and its more than suggestive photogeny were a round product suitable for the general public, as certified at the Axerquía Theater. Constituted in 1986, the Glasgow group broke into the Anglo -Saxon market with overwhelming force. His first album worked as a sprayer, but it was on his third album when a splendid *Say what you want* He conquered the radio formulas of half the world. The song presents a perfect bill. Spiteri’s warm bell, his whisper and the gorgeous simplicity of a conventional Pop standard catapults the Scottish band to the Olympus of a highly competitive business.”
“His discography and sales volume have shown that Texas is not a marketing product, although many underline the syrupous saturation of some of their creations. Last night they gave good account to an energy and conclusive performance. His musical conception,however,does not have much to do with the southern effluvios of the state of texas or with the soundtrack of Ry Cooder in the legendary film of Wim Wenders,of which they took the name of the group.”
“Although Texas’s credits allude to blues and country as substantive ingredients of their work, what we coudl hear last night is geographically located in the pop universe of the nineties. Which is neither good nor bad, but quite the opposite. it is an indisputable merit of the band its survival capacity in a wild industry that devours projects with the voracity of the cookie monster. Much more if, as Spiteri herself has recognized, the project is led by a woman in a mostly male ocean.”
