The London-based techno producer played a gig overlooking La Rambla
La Rambla is Barcelona’s main tourist thoroughfare, a bustling tree-lined avenue stuffed with shops selling knock-off football shirts, artists pushing expensive caricatures of David Beckham and stalls hawking plants that look like rude body parts. From 10am till midnight, the street is heaving with visitors.
So it is on this Thursday lunchtime, the first full day of Primavera Sound‘s 2017 programme. Between one of those tourist stores and the corner of the block, through a narrow doorway, a queue of people wind up an ornate staircase to a first floor apartment.
The space inside is beautiful, classic Catalan decor with high ceilings and imposing balconies. In a backroom, Kelly Lee Owens has set up a Carillon keyboard, laptop and drum pads on a make-shift stage framed by four sturdy pillars, gilded with gold flake designs of hawks and horses.
There’s no doubt that, ordinarily, Owens’ music thrives at 4am in a dingy club, but somehow – with the afternoon daylight streaming through the large windows – she manages to conjure some of that nocturnal vibe, even if the volume is never bludgeoning.