Founded in 2017, the conference Contact in Belgrade - in modern terms, a platform for the cultural infrastructure/creative industries of the Balkans, in practice one of the rare opportunities here for a working gathering of professionals who deal with popular music in various ways - in its 9th edition, it stretched along the protest spring.
The usual structures - panel discussions, workshops, promotions, exhibitions (Brit-pop photographs by B. Rašić; "Yugo.Logo"), concerts - this year she offered perhaps the best live performances so far.
Namely, along with TBF and the original Denise (Croatia), domestic (Hornsman Coyote, Veliki prezir, renewed Autopark with the new album "La Reunion" on the Odličan hrčak label), meta-Balkan attraction were Altin Gun (Netherlands/Turkey).
Scattered across various venues, Kontakt placed the last mentioned on the plateau behind the port of Belgrade hangar, with a pleasant surprise - a large stage, high-quality
sound system - sufficient even for larger spaces under the open sky.
At the navigable gates of the port, "Kontakt 2025." last Saturday, the final blow for this time, the Belgrade concert Partybreakers. Because three years ago they celebrated their 40th birthday at the Fair, but now is the right time for an authentic rock and roll rebellion in Serbia... More than decades ago.
Believe it or not, Belgrade was once an important port city, while river (as well as railway, after all) traffic was neglected in favor of road traffic; passenger ships were not only tourist 'cruisers'. But now we're looking at the freight/cargo port on the Danube, something completely different from the hi-corrupt Belgrade-on-the-waters of the Sava.
Less and less in its original use, with its halls, silos, warehouses and hangars, this spacious area at the foot of Dorćol is a real bait for the so-called industrial chic for a fashionable pastime, until maybe investor urbanism and all that is overrun.
In translation, after a slow slalom through parking lots, ramps, make-up shops and corporate events, you finally break out on the river - mist over the rippled Danube, the sun is gray, first-class archival rhythm-and-blues from the speakers; even the toilets are pop-art street style.
The opening group Nezvani gosti, a couple of whose members have been through some lineups of 'Breakers', does not disturb the warm-up. Then, 40 years after the release of the legendary debut album "Patribrejkers" (1985, Jugoton; 1999, Hi Fi Center), here they are again, not weakening.
Have/don't have a new album/songs, 'Breakers are a high-ranking concert force, reliable as a rock.
Despite the numerous changes in the 'second line', the already established Zrenjanin trio (guitar/bass/drums) push the wall of sound with the riffs and short solos of the virtuoso pattern of Nebojša Antonijević-Anton (b. 1961), and this is probably how the majority of the mass audience throughout the Balkans will remember the Partibrejkers concert; Admittedly, there are some of us who survived from the era of the forgiving first line-up (two electric guitars without a bass), and the classic trio in which even the sparrows learned why Anton is a top guitarist.
Of course, he is the only one who can put up with Zoran Kostić-Canet (b. 1964) for decades, a unique singer whose all the flaws and limitations in style and attitude have become virtues: Cane shouts out lyrics, many of them worth gold but heavy as lead, and according to the teenage-punk tradition, he drives his fans by the nose and by the hair, and even himself.
In a comfortably filled space, several generations of loyal audience (tickets from 2.500 d.) are enjoying themselves noisily, with "Earthquake" (My heart is trying to beat) and, as if for this occasion, "Biraj" (There is a way out...). On several occasions, those present shout 'Pump'.
The barrage of seasoned favorites consists of "Put" with a longer solo guitar pedal work, "1000 godina", the refreshingly symbolic "Hypnotized crowd", "Go towards me", "Hoću da znam", and the hour and a half program is rounded off by the calming "Molitva".
No spec. no guest effects and yet everything is there, as if we are in a big club in nature, so the ovation turns into an encore, normally.
"Daughter of the Moon" hits, the cannonade continues with "How hard it is without you" and "She lives on
hill". The second encore, "Srce kuca, tu je", "Everyday", "Stay Johnny" with never the same monologue/recitative, and... the best guitar thunder from the Balkans ends with the chant "The best way to travel".
As they say, freedom or nothing.
