Fresh off the heels of a Grammy, Mexican band Zoé returned to the Hollywood Palladium to a roaring crowd of dedicated fans with few who didn’t know their presence. A month into their 2019 U.S. Tour alongside Metric and July Talk, the multicultural-tour broadened the beauty of the band’s sixth studio album, Aztlán, while delivering a cut of classics from their 20 year span.
Promptly starting near 8 p.m., the electronic disillusionment of “No Hay Mal Que Dure” filled up the arena as eager fans began to pour onto the floor. A sheen of red glossed over the band’s performance hailing to the futuristic ethos that Zoé eloquently utilizes, whereas “Últimos Días” saw frontman Leon Larregui sporting a Duesenberg guitar, revisiting the alternative-rock side the band basked in on their 2008 album, Reptilectric.
Sergio Acosta (Lead Guitar), Leon Larregui ( Vocals) / Photo: Tony Gonzalez, for GUM
The set consisted of a supple amount of hits, primarily from Aztlán, and walked an atmospheric line of light and heavy textures. By the tender ballad of “Poli,” the transition spearheaded by “Temor y Temblor” presented a thicker assortment of tracks, sonically speaking. Mirroring each emotive move that Larregui brought on stage, the venue’s lights danced rapidly, mesmerizing with each flicker.
Appeasing to their strong fan base, the last quarter of the set provided the nourishment that fans craved. Larregui broke randomly from track to track thanking fans numerous times in Spanish and English, as Jesus Baez connected any empty space through ethereal keys.
Inviting the crowd to sing along on “Labios Rotos,” noting the MTV Unplugged version, Larregui carefully walked the stage, delivering a sense of empathy the track possess. A crisp sound echoed and bounced from each side of the enclosure, warming attendees from the chilled night.
As usual, the track the that riled up a clamor of excitement immediately, was felt through electronic modulations and a heavy delayed guitar on the opening threads of “Soñé.” In a glorious moment of unison the Art Deco walls, dance floor, and balcony was swarming with the notorious hook, “Todo el tiempo estoy pensando en ti.” Once more expressing gratitude, Larregui simply told fans, “We love you guys. Hope to see you soon,” as they closed the curtain with their pop-fused single, “Love.”
Witnessing Zoé numerous times throughout the years at different venues, festivals and states, a certain deliverance from the band is a given. Magicially creating a cinematic enrapture, Zoé’s live performance is a feat of great pleasure to witness; getting better with time while crossing any boundary drawn.
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Set-list
No Hay Mal Que Dure Últimos Días 10 A.M. Azul Fin de Semana Poli Temor y Temblor Hielo Renacer Vía Láctea Labios Rotos No me Destruyas Soñé Love
Girl Underground Music 
Fresh off the heels of a Grammy, Mexican band Zoé returned to the Hollywood Palladium to a roaring crowd of dedicated fans with few who didn’t know their presence. A month into their 2019 U.S. Tour alongside Metric and July Talk, the multicultural-tour broadened the beauty of the band’s sixth studio album, Aztlán, while delivering a cut of classics from their 20 year span.
Promptly starting near 8 p.m., the electronic disillusionment of “No Hay Mal Que Dure” filled up the arena as eager fans began to pour onto the floor. A sheen of red glossed over the band’s performance hailing to the futuristic ethos that Zoé eloquently utilizes, whereas “Últimos Días” saw frontman Leon Larregui sporting a Duesenberg guitar, revisiting the alternative-rock side the band basked in on their 2008 album, Reptilectric.
The set consisted of a supple amount of hits, primarily from Aztlán, and walked an atmospheric line of light and heavy textures. By the tender ballad of “Poli,” the transition spearheaded by “Temor y Temblor” presented a thicker assortment of tracks, sonically speaking. Mirroring each emotive move that Larregui brought on stage, the venue’s lights danced rapidly, mesmerizing with each flicker.
Appeasing to their strong fan base, the last quarter of the set provided the nourishment that fans craved. Larregui broke randomly from track to track thanking fans numerous times in Spanish and English, as Jesus Baez connected any empty space through ethereal keys.
Inviting the crowd to sing along on “Labios Rotos,” noting the MTV Unplugged version, Larregui carefully walked the stage, delivering a sense of empathy the track possess. A crisp sound echoed and bounced from each side of the enclosure, warming attendees from the chilled night.
As usual, the track the that riled up a clamor of excitement immediately, was felt through electronic modulations and a heavy delayed guitar on the opening threads of “Soñé.” In a glorious moment of unison the Art Deco walls, dance floor, and balcony was swarming with the notorious hook, “Todo el tiempo estoy pensando en ti.” Once more expressing gratitude, Larregui simply told fans, “We love you guys. Hope to see you soon,” as they closed the curtain with their pop-fused single, “Love.”
Witnessing Zoé numerous times throughout the years at different venues, festivals and states, a certain deliverance from the band is a given. Magicially creating a cinematic enrapture, Zoé’s live performance is a feat of great pleasure to witness; getting better with time while crossing any boundary drawn.
This slideshow requires JavaScript.
Set-list
No Hay Mal Que Dure
Últimos Días
10 A.M.
Azul
Fin de Semana
Poli
Temor y Temblor
Hielo
Renacer
Vía Láctea
Labios Rotos
No me Destruyas
Soñé
Love
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