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list: List of plays
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GET /v2/plays/3629892/?format=api
HTTP 200 OK
Allow: GET, HEAD, OPTIONS
Content-Type: application/json
Vary: Accept

{
    "id": 3629892,
    "uri": "https://api.kexp.org/v2/plays/3629892/?format=api",
    "airdate": "2026-03-16T21:52:20-07:00",
    "show": 66201,
    "show_uri": "https://api.kexp.org/v2/shows/66201/?format=api",
    "image_uri": "",
    "thumbnail_uri": "",
    "song": "Enola Gay",
    "track_id": null,
    "recording_id": "feb87a65-fcf5-4336-b56f-856b34433cba",
    "artist": "Andrés Calamaro",
    "artist_ids": [
        "5a092e7c-faa9-45d0-88c6-052205804e6c"
    ],
    "album": "El salmón",
    "release_id": null,
    "release_group_id": "3f99887f-d683-3348-bd98-af3d91822592",
    "labels": [],
    "label_ids": [],
    "release_date": "2000-01-01",
    "rotation_status": null,
    "is_local": false,
    "is_request": false,
    "is_live": false,
    "comment": "“Enola Gay” shows Andrés Calamaro at his most sharp-edged and enigmatic, transforming a historically loaded name into a rock song that feels intimate, bitter, and strangely cinematic. The track appears in Calamaro’s catalog in the 1990s and later in expanded editions of El Salmón, one of the sprawling projects that confirmed his refusal to work within neat commercial boundaries. That refusal matters, because “Enola Gay” is not an obvious song. Its title immediately invokes catastrophe and history, yet Calamaro’s songwriting tends to reroute symbols through the personal, allowing large references to become emotional decoys, mirrors, or traps. The result is a track that carries intellectual tension without losing its visceral bite. Calamaro has always excelled at making rock feel literary without becoming stiff, and “Enola Gay” benefits from that balance. There is usually a loose elegance in his phrasing, a sense that even when the song wounds, it does so with style. Here, the historical echo in the title intensifies the feeling of emotional fallout. The song sounds like aftermath: not necessarily literal destruction, but the psychic debris left by love, ego, and memory when they stop pretending to be harmless. It is that ability to move between swagger and vulnerability that keeps Calamaro’s work alive. “Enola Gay” does not resolve its own tension. It lets the name hang in the air, and that unresolved charge becomes part of the song’s enduring power.\nListen: https://open.spotify.com/track/0SgdrxZyH3pNxg5XehXGpi",
    "location": 1,
    "location_name": "Default",
    "play_type": "trackplay"
}