Homenatge a veus femenines: Sharon Van Etten, Russian Red, Karen Dalton, Peyroux i més — indie-folk, clàssics i versions que arriben al cor
Panorama de l'episodi
Programa 89 del (probablement) Godiva Bonaparte dedicat íntegrament a veus femenines actuals. La locutora ofereix una playlist curada amb peces d’indie-folk, americà i pop d’autor, combinant temes propis i versions íntimes. El to és contingut, fràgil i poderós alhora, amb una aposta per cançons que connecten amb la sensibilitat, la pau i un amor universal.
"M'encanten aquestes dones... ens connecten amb la sensibilitat, amb certa tranquil·litat, amb una pau, un amor universal... un misteri que em té fascinada."
Punts destacats
- Tesi del programa: Homenatge a solistes femenines actuals amb timbres únics i una energia delicada però contundent.
- Obertura potent: Doble entrada amb Daughter ("Run") i Sharon Van Etten ("Every Time the Sun Comes Up").
- Versions remarcables:
- Russian Red reinterpretant "Girls Just Want To Have Fun". - Madeleine Peyroux amb "Martha, My Dear" (Beatles). - Keren Ann amb un "Hallelujah" sobri i emotiu (Leonard Cohen).
- Peces clau:
- Sharon Van Etten — "Give Out" (presentada com una de les obres centrals del programa). - Tancament cinematogràfic amb Ludovico Einaudi + Greta Svabo Bech.
- Fil emotiu: Fragilitat, llum hivernal, lluites íntimes i consol; cançons per a moments de recolliment.
Temes principals
1) Veus femenines i la intimitat com a força
- Veus amb timbre i fragilitat que conviden a escolta atenta.
- L’economia d’arranjaments accentua l’emoció del text musical.
2) Covers i tradició
- Relectures que recontextualitzen clàssics (Cyndi Lauper, Beatles, Leonard Cohen) des d’una sensibilitat indie-folk.
- Diàleg entre cançoner tradicional i autor contemporani (Jolie Holland, Karen Dalton).
3) Curadoria narrativa
- Sequenciació en blocs: obertura energètica, cor central emotiu, tram final contemplatiu i catàrtic.
- La locutora aporta un relat que enllaça peces i colors emocionals.
Blocs musicals i moments
Obertura
- Daughter — "Run": urgència i desig d’evasió.
- Sharon Van Etten — "Every Time the Sun Comes Up": mantra crepuscular que marca el to del programa.
Primers highlights i covers
- Russian Red — "Girls Just Want To Have Fun" (cover): fresca i melòdica, mirada nova a un clàssic pop.
- Hannah Cohen — "Don’t Say": vulnerabilitat i espai.
- Leila Diane — "The Rifle": narrativa fosca i hipnòtica.
- Laura Veirs — "Sun Song": llum i degel, imatge poètica de l’alba.
Nucli emotiu
- Lucy Rose — "Gamble": introspecció, culpa i redempció.
"No paro de sentir-la i és que és enorme" (sobre Sharon Van Etten — "Give Out").
- Sharon Van Etten — "Give Out": peça clau, cruïlla entre força i fragilitat.
Arrels i folk
- Bosque Brown — "When Walking": austeritat i camins de tornada.
- Karen Dalton — "Little Bit of Rain": melangia clàssica.
- Jolie Holland — "Old Fashioned Morphine": gospel-blues antic amb magnetisme.
- Madeleine Peyroux — "Martha, My Dear" (Beatles): elegància de cambra.
Tancament contemplatiu
- Josefine Foster — "Little Life": miniatures líriques, delicadesa.
- Keren Ann — "Hallelujah" (Leonard Cohen): sobrietat i respecte.
- Ludovico Einaudi + Greta Svabo Bech — peça final: textura cinematogràfica, pulsació de cendres i ressò emocional.
Per què escoltar aquest episodi?
- Per descobrir o redescobrir solistes femenines que combinen fragilitat i presència.
- Per gaudir d’una curadoria que teixeix versions, folk i pop d’autor amb coherència narrativa.
- Per un final catàrtic i expansiu que tanca un viatge íntim amb escalada emocional.
Seccions de l'episodi
Obertura I — Daughter: "Run" (urgència i fugida)
Bloc inicial amb atmosfera de tensió íntima i el leitmotiv de la fugida. Marca el pols emotiu del programa.
Obertura II — Sharon Van Etten: "Every Time the Sun Comes Up"
Mantra crepuscular i hipnòtic; reforça el to emocional que impregnarà la selecció.
Introducció i dedicatòria del programa
Presentació del Programa 89 i homenatge a solistes femenines actuals amb veus poderoses i sensibles.
Russian Red — "Girls Just Want To Have Fun" (versió)
Cover delicada i lluminosa d’un clàssic pop, filtrada per una sensibilitat indie.
Hannah Cohen — "Don’t Say"
Peça de vulnerabilitat i contenció, centrada en el no dit i el pes emocional.
Leila Diane — "The Rifle"
Narrativa fosca i ritual, imatges domèstiques que esdevenen amenaça; climax intens.
Laura Veirs — "Sun Song"
Lletra d’alba i desglaç; metàfores de llum i renovació.
Lucy Rose — "Gamble"
Confessió íntima sobre culpa i recerca de sentit; melodia càlida i propera.
Comentari de la locutora: sensibilitat i misteri
Reflexió sobre la força de les veus femenines i repàs de temes sonats fins ara.
Sharon Van Etten — "Give Out" (peca clau)
Moment central del programa; equilibri entre fragilitat i intensitat emotiva.
Bosque Brown — "When Walking"
Folk auster i caminada introspectiva; textures terrals.
Karen Dalton — "Little Bit of Rain"
Clàssic melangiós; veu ígnia i fràgil que travessa el temps.
Jolie Holland — "Old Fashioned Morphine"
Gospel-blues d’arrel; cadència ritual i magnetisme antic.
Madeleine Peyroux — "Martha, My Dear" (Beatles)
Elegància de cambra i swing subtil; relectura afectuosa d’un clàssic.
Pont de la locutora cap al tram final
Introducció a les peces més lentes i nostàlgiques del tancament.
Josefine Foster — "Little Life"
Miniatura lírica; delicadesa i mirall de petites revelacions.
Keren Ann — "Hallelujah" (Leonard Cohen)
Versió austera i respectuosa; emoció sostinguda i espai sonor obert.
Ludovico Einaudi + Greta Svabo Bech — peça final ("Underground")
Tancament cinematogràfic: pulsació repetitiva, cendres i expansió emotiva amb veu etèria.
Cloenda
Comiat i agraïments; tancament del viatge amb desig que hagi arribat al cor.
While I powder my nose He will powder his gums And if I try to get close He is already gone Don't know where he's going Don't know where he's been He's restless at night, cause he has horrible dreams So we lay in the dark, we got nothing to say Just the beating of hearts like two drums in the grave I don't know what we're doing, I don't know what we've done But the fire is coming, so I think we should run While I put on my shoes, he will batten his coat. And we will step outside, checking that the coast is clear on both sides. Cos we don't wanna be seen now, this is suicide. But you can't see the ropes And I won't tell my mother It's better she don't know And he won't tell his folks Cause they're already ghosts And we'll just keep each other safe as we can Until we reach the border Until we make our plan to run, run, run, run Will you stay with me my love for another day? Because I don't want to be alone when I'm in this state. Will you stay with me my love till we're old and grey? Because I don't want to be alone when these bones decay. Run, run, run. Every time the sun comes up I'm in trouble. Every time the sun comes up I'm in trouble. Even when the sun comes up I'm in trouble. Even when the sun comes up I'm in trouble. Cure glasses but covered our asses Take time silently When every time the sun comes up I'm in trouble. Every time the sun comes up I'm in trouble. Every time the sun comes up I'm in trouble. Every time the sun comes up I see you double. Acabeu de sentir la Sharon Van Etten amb el seu Every Time the Sun Comes Up i he iniciat aquest programa d'avui amb DotaR amb el seu Run. Avui és el 89, el programa Godiva Bonaparte, estem a 1 dels 90 i a 10, o a 11 del 100, que no sé què farem, però suposo que la liarem grossa. i agrair-vos la vostra fidelitat i els ànims que sempre ens doneu per continuar. 89 programa dedicat aquí a les dones, a les dones impressionants com les que he acabat de sentir i la playlist que us he preparat perquè són totes solistes de música actual. que tenen un to de veu i una fragilitat, un misteri, una energia tan poderosa que m'ha semblat molt adient fer-los un homenatge per totes elles. Ara mateix sonarà Russian Red amb el seu Guils Just Want To Have Fun. They come home in the morning light My mother says when you're gonna live your life right Mama, dear, we're not the fortunate ones But girls just wanna have fun Oh, girls just wanna have fun Four rings in the middle of night, my father Just what you're gonna do with your life Oh, daddy, dear, you know you're still number one But girls just wanna have fun Oh, girls, just wanna fun That's all they really want Some fun When the working day is done Oh, girls, just wanna fun Some boys take a beautiful girl and hide her away from the rest of the world. I wanna be the one to walk in the sun together just for now. I'm fine when the working day is done. They just wanna, they just wanna They just wanna, they just wanna They just wanna, they just wanna They just wanna, they just wanna Girls, girls just wanna have fun Girls just wanna have fun Girls just wanna have fun It didn't hurt. I cried all night. And now it's your turn. One way to get back at you Don't say, don't say, don't say, don't say that this didn't hurt Don't say, don't say, don't say, don't say that this wouldn't work I will forgive. I'll go our day without one regret. I'll go our day without one regret. Don't say that this didn't hurt. Don't say, don't say, don't say, don't say that this wouldn't work. Don't say... Don't say... Don't say it. Don't say it. Oh, I've been knocking on that door in my sleep. Fight my fireplace glow. I've been knocking on that door in my sleep. Fight my fireplace glow to keep me awake. Papa get the rifle from his place above the French doors. They're coming from the woods, oh, they're coming from the woods. Mama, you're running too. Oh, my mama, you're running too. Mama, you're running too. Oh, my mama, you're running too. Brother, I'm so sorry that you watched the paintings burn. And I've been holding on to the gold When letting gold free my hands And I've been tying your tongue in a knot Oh, I've been tying your tongue in a knot To wrap this death To wrap this death in a sheet And Papa get the rifle from his place above the French doors. They're coming from the woods. Oh, they're coming from the woods. And, mama, you're running too. Oh, my mama, you're running too. Mama, you're running too. Oh, my mama, you're running too. And, brother, I'm so sorry that you watch the paintings burn. And I can't hide those dirty paths down that carpet anymore. No, no, I can't hide the dirty paths down that carpet anymore. There were too many heavy boots. There were too many heavy boots. There were too many heavy boots. And there were too many big black boots. And there were too many little brown shoes marching through. So I'm counting to the sky, oh, I'm counting to the sky. I'm counting to the sky, oh, I'm counting to the sky. I'm moving back, oh, I'm moving back to face the lack of hope. First rays of light are coming through. Been several months since I saw that much blue. Water are rushing in the banks. Freed from the ice it has the sun, the sun to thank. I cast a sun, the sun, to the face. Gratges inside your golden hair. Catch all the light I'd fight to death, I swear. As all the other mothers would remember. Stalked by winter solace in a small one hand. I'm too thin. Som-hi! Som-hi! Sí, sí, sí. I will take all the blame this time cause it was my fault and you were kind cause now I'm searching for a reason to believe that I'm something cause I don't gamble like I used to But I still do things that I shouldn't do That I shouldn't do It's on my mind And it's on my mind I will just leave cause no more pain. So I brought this song and you were kind. So now I'm searching for a reason To believe that I'm something Cos I don't gamble like I used to But I still do things that I shouldn't do That I shouldn't do And it's on my mind And it's on my mind And you said Can't we work it out? Won't you talk to me? What's this all about? And you said to me Can't we work it out? Can't we work it out? Won't you talk to me? What's this all about? And you said to me Can't we work it out? Won't you talk to me? And you said to me, can't we work it out? Won't you talk to me? What's this all about? Gràcies per atendre'ns. Mare meva. A veure, a risc de posar-me cursi, que m'és igual, m'encanten aquestes dones que estan sonant avui. Bàsicament perquè ens connecten amb la sensibilitat, amb certa tranquil·litat, amb una pau, un amor, que us diria universal, amb un misteri que em té fascinada. Una miqueta per això volia portar-vos Aquestes artistes tan especials. Acabeu de sentir la Lucy Rose amb el seu Gamble, anteriorment la Laura Beards amb Sun Song i la Leila Dayan amb The Rifle. I també la Hannah Cohen amb el Don't Say, preciós tema. Qui ve a continuació? Si us ha agradat més o menys el que acabeu de sentir, aquí ve per mi una de les peces claus d'aquesta llista d'avui. No me la puc treure del cap, no paro de sentir-la i és que és enorme. La Sharon Van Etten amb Give Out. The only sad I had met in years It's not because I always look down It might be I always look out It might be I always look out I'm biting my lip As confidence is speaking to me I loosen my grip from my palm Put it on your knee In my way I say you're the reason o per què he d'anar a la ciutat o per què he d'anar? No, no, no. I say you're the reason why I'll move to the city I'm going to miss you. M'agrada molt. Went walking down the road with my sister. Mother, father and daughter now been gone, been gone from home. Pfff! I've been gone and gone from home to the city. Drive with the sun in your mind and wear the suit. is where I'll greet you till it's all greater. To a silhouette that I... I am coming home Ai... If I should leave you Try to remember all the good times Long days filled with sunshine Just a little bit of rain If you should look back Try to forget all the bad times Lonely blue I pass by a little bit of rain. Hard to remember all the good times. Long days filled with sunshine. Just a little bit of rain, just a little bit of rain. Just a little bit afraid. Give me that old-fashioned morphine. Give me that old-fashioned morphine. Give me that old-fashioned morphine. That's good enough for me. It was good enough for my grandpa. It was good enough. For my grandpa, that was good enough For my grandpa, that's good enough for me Sister, don't get worried Sister, don't get worried Sister, don't get worried Because the world is almost done Give me that old fashion morphine. Give me that old fashion morphine. Give me that old fashion morphine. It's good enough for me. I was good enough for belly bars. I was good enough for belly bars. I was good enough for belly bars. It's good enough for me. Sister, don't get worried. Sister, don't get worried. Sister, don't get worried. Because the world is on our side. Give me that old fashion morphine Give me that old fashion morphine Give me that old fashion morphine That's good enough for me I was good enough for Isabel Eberhard. I was good enough for Isabel Eberhard. I was good enough for Isabel Eberhard. That's good enough for me. Sister, don't get worried. Sister, don't get worried. Sister, don't get worried. Because the world is hard. Ah! Ah! Ah! M'agrada molt. Martha, my dear, though I spend my days in conversation, please remember me. Martha, my love, don't forget me. Martha, my dear, hold your head up, you silly girl. Look what you've done. When you find yourself in the thick of it Help yourself to a better world is all around you Silly girl Take a good look around you Take a good look around to see That you and me Were meant to be With each other Silly girl. Hold your hand out, you silly girl. Look what you've done When you find yourself in the thick of it Help yourself to better what is all around you Silly girl Martha, my dear, you have always been my inspiration. Please, be good to me. Martha, my love, don't forget me. Martha, my dear. Martha, my dear, de la... de la Madeleine Peu. He deixat bastantes cançons sense xerrar, perquè és que em fa molt de tall, saps?, haver de tallar aquesta energia tan macà i aquesta fragilitat i aquestes pedales de ties amb aquesta personalitat tan gran. Anteriorment a la Madeleine Pérou ha sonat la Julie Holland amb el seu Old Fashioned Morphine, anteriorment la Karen Dalton amb el Little Bit of Rain i la Bosque Brown amb When Walking. Ja estem finalitzant el programa d'avui i ens queden tres o quatre temes, depenent del temps, més fràgils, més lents, més nostàlgics, que també són necessaris a vegades, aquests moments de recolliment. Preciós tema. Little life, how did you be so lucky? Little life, how did you be so glad? Songs arrive even in the mailbox. Songs keep coming even happy to be said. If you were a bird, how would you fly? If you were a butterfly If you were a penguin on the swing If you were a bumblebee Little love, how did you be so lucky? Little love, how did you be so glad? Songs arrive even in the mailbox songs keep coming even happy to be said. If you were a bird how would you fly? If you were a butterfly If you were a penguin from the sea If you were a person just like me How in love would you be? How little I thought it'd be so glad. Some's alive, even in the mailbox. Some's keep coming, even happy to be said. Well, I've heard there was a secret chord That David played and it pleased the Lord But you don't really care for music, do you? Well, it goes like this, the fourth, the fifth, the minor fall, the major lift, the baffled king composes hallelujah. Hallelujah. Hallelujah. Hallelujah. Hallelujah. While your face was strong but you needed proof, you saw her bathing on the roof, her beauty in the moonlight all through. She tied you to her kitchen chair And she broke your throne and she cut your hair And from your lips you drew your hallelujah Hallelujah, hallelujah Hallelujah, hallelujah Yeah. Well, baby, I've been here before. I've seen this room and I've walked this floor. You know I used to live alone before I knew you. And I've seen you fly among the marbles. I thought a victory march, it's cold and it's a broken hallelujah. Hallelujah. Hallelujah. Hallelujah. Hallelujah. Well, there was a time when you let me know What's really going on below But now you never show that to me, do you? But I remember when I moved in you And the Holy Dove was moving too And every breath we drew was hallelujah Hallelujah. Hallelujah. Hallelujah. Hallelujah. Maybe there's a God above But all I've ever learned from love Was how to shoot somebody who up drew ya And it's not a cry that you hear at night It's not somebody who's seen the light It's cold and it's a broken hallelujah Hallelujah. Hallelujah. Hallelujah. Hallelujah. You know the fire's running low Can you feel the flame, her fading glow You know we are slowing down I can hear your footsteps drowning out We're burning out, we're burning down With the ashes on the ground underground we're burning out we're burning down we've fallen underground you are you're singing our song but your heart is somewhere else I know we are we're trying to belong Pick up the pieces left of us We're burning out We're burning down With the ashes on the ground We're burning out We're burning down We've fallen underground If you could see me running after you I've been running in circles. Has fallen from the stars Now we are sinking through the night Out of sight We've fallen underground Pick up the pieces left of us If you could see me running after you In my heart I'd be running in circles around you Really ashes on the ground. We're burning down. We're burning down. We're burning down. We're burning down. We're burning down. Really ashes on the ground. You know the fire's riding love... Doncs amb aquest enorme, enorme, impressionant, no hi ha espai per aquest grandíssim tema de Ludovico e una odi, versionat o combinat amb la veu de la Greta Svabo, finalitzem aquest programa d'avui. Karen Ann també havia sonat abans amb el seu Aleluia, versió de Leonard Cohen, i la Josefine Foster amb el Little Life. Espero que us hagi arribat al cor, perquè a mi ho ha fet. Bona nit i fins la propera setmana.