He is the great digital troubadour of our time. The Londoner James Blake has outlined his own language, brimming with sensuality, sensitivity and delicacy, based on electronic r'n'b, freeze-dried soul and fractured hip hop.
"Playing Robots Into Heaven" (2023), the sixth album in the career of the British James Blake, is the perfect excuse for his visit to Noches del Botánico, is a new sample that no one like him dominates in such an overwhelming way the digital interiorism in a pop context. More electronic, more danceable and more aware than ever of the essential role his music plays in the British post dubstep scene - that is, almost everything that has been projected from there in the last decade in the field of electronic pop -, this is a sort of creative renaissance, inspired by his younger years but without sterile nostalgia or immobilism. Taking a step backwards and then taking two steps forward. A new display of genius in the career of a musician whose chapter of collaborations already speaks for itself of its capital importance: Rosalía, Kendrick Lamar, Beyoncé, Frank Ocean or SZA. And with a magnetic live performance.