The attendees denied Luciana Jury an encore after her criticism of Milei, marking the end of subsidized culture
Compartir:
The historic square of Cosquín became the stage for a forceful popular demonstration against partisan Kirchnerist political speeches. Luciana Jury tried to use the main stage to launch harsh criticism of capitalism and the presidential administrations of Macri and Milei. This attitude provoked an immediate reaction from the Córdoba attendees, who have already expressed their categorical rejection of Kirchnerist slogans.
The atmosphere of discomfort increased when the singer invited the transvestite Susy Shock to perform songs with an extremely high ideological content. In the middle of the show, Shock launched a criticism by stating: "Folklore doesn't belong to any snitch of the moment," in a clear allusion to the national government. A large part of the crowd present replied with deafening whistles to express their weariness with the use of public spaces for propaganda.
For many of these artists who are addicted to official advertising funds, the new reality without direct state financing represents a market challenge. The national government decided to prioritize savings, allocating resources to basic needs instead of financing culture with a partisan bias. Now the musicians must validate their talent according to public demand and their ability to attract audiences without relying on the support of state funds.
Susy Shock, la travesti que también fue abucheada por el público
The Córdoba audience set a limit
The moment of greatest tension occurred when the performer asked whether the audience present wanted to hear one last song before her departure. With a resounding and massive negative shout, the thousands of spectators delivered the final verdict on a performance that never managed to connect with the audience. This forceful rejection in the main square shows that society no longer tolerates political indoctrination in the middle of a federal celebration.
Although the festival's organizers maintain a critical stance toward the national administration, the people took an opposing position. Córdoba once again reaffirms itself as the national stronghold most opposed to Kirchnerism, defending citizens' freedom over the militant outcry. The night also included messages from other bands such as Duratierra, although the focus remained on the lack of respect for the presidential office.
After the show, the performer tried to play down the booing by insisting that the audience maintained an attitude that she herself described as extraordinary. However, what happened in the Próspero Molina leaves a clear lesson about the risks of politicizing events with Kirchnerist speeches. The end of subsidized culture forces art to be valued for its aesthetic quality and not for its alignment with power structures of the past.
