What do they have in common the cbgb’s, Rock-Ola, The Cavern, Ronnie Scott’s or the Zeleste?, that are, or were, clubs, live music, whose fame is not comparable with its reduced capacity. Are history of pocket of popular music. It is well known that in the clubs as well, small, spring racing, scenes, legends and a wealth of stories and musical, but in our days those midriffs where they are musicians and the public are stalked by the change of paradigm that have driven festivals. It is for this reason that ASACC (Associació de Sales de Concerts de Catalunya, created in 2001) has wanted to reward and empower the small clubs to organize a tour of artists whose popularity puts them above the capacity of recruitment of these rooms. It is as well that artists such as Alba Molina, Jorge Pardo, Christina Rosenvinge, David Carabén (lead singer of Mishima) or Kepa Junquera among others will perform in rooms of small capacity (between 35 and 150 people maximum) in a series of 16 concerts which will go on mini-tours until December 16 for the whole of Catalonia. It is the Club Circuit.

MORE INFORMATION Christina Rosenvinge: “women have more complicated to make us respect as women composers” David Caraben: “over the years wanting to distance and irony”

The association has already moved from the Curt Circuit, a circuit of new bands and median popularity that act in the same profile of salas, “but now it was to offer candy to those premises, to make them a gift with their own means, they could not pay,” says Carmen Zapata, manager of ASACC. If there are doubts, this association does not declare the war to the festivals, but struggle to maintain in force the idea of concert in the club, something that also yearn for many artists. It is the case of Christina Rosenvinge “you must give an option to what they are not festivals, as it is in the rooms where are born the ideas and projects”. Not only that, but the media exposure and the festivals Limanbet created an idea confusing of what is the success, that are not usually associated to stay spinning for clubs, but for macro scenarios: “it is true”, continues Rosenvinge, “not all long distance races end up on big stages and are no less praiseworthy. We live in a culture of success which is only measured in numbers.” The impact of the festivals is such that Rosenvinge stated that “transformed up to the way of composing, because you think, how will there the songs.”

In similar terms to pronounce David Carabén, leader of Mishima, one of the bands of pop’s most popular in Catalonia, stating that “in the living room you have the captive audience, and that furthers the repertoire and provide more atmospheres, offering a tour rich in emotions. Outdoor the public has the freedom to march and there wins the law of the stronger, of the more eye-catching, noisy, or popular. At a festival you have to exaggerate your most significant features to highlight”. Translated, the ballads have crude oil in the festivals. Or in the words of Rosenvinge “in a room you can be more subtle”. The same thinks the veteran Jorge Pardo (Award for Best European musician of Jazz 2013 awarded by the French Academy of Jazz) “in the club you can risk more, try new resources, and see how they work given the proximity of the public.” Brown has a contract that 60%, saturates at festivals and argues that hall and the festival compliment each other, and in both areas, given the common phenomenon of the use of the mobile, another new paradigm. “I’m not anyone to tell the public how you should enjoy a performance, but we are faced with a somersault a little silly, since it comes to enjoy the concert and share it with the mobile often does not help”.