PANM360 at Nuits d’Afrique | Alberto Salgado Turns Balattou Into a Percussive Laboratory

by Michel Labrecque

The Brazilian songwriter told me in an interview: “I make MPB, Brazilian percussive music,” making a play on words with the real meaning of MPB (Brazilian popular music). We were able to see, Thursday evening at Balattou, that he was speaking the truth.

The guitarist and singer from Brasilia offered us a two-part concert, largely consisting of pieces from his records Além do Quintal and Cabaça de Agua, as well as the upcoming album Tutorial de Ebo. The temperature quickly rose in the club dedicated to world music.

Alberto Salgado is surrounded by a small musical group: Marcelo Marinho on cavaquinho, Valerio Xavier on pandeiro (small drum) and other various percussions, and an occasional triangle player (yes!). This contrasts with the multitude of instruments, including electronic, that we hear on these studio recordings. On the other hand, the guides are overflowing with communicative energy. Enough to supply Place Ville-Marie with electricity!

Marcelo Marinho is the John McLaughlin of cavaquinho, this tiny guitar with high notes. He multiplies his solo flights, dropping notes by tens per second. It is he who provides the melodic foundation of the group, with the voice and guitar of Alberto Salgado.

Salgado’s guitar is very percussive, which brings us back to this idea of music very focused on rhythm. There are forró, samba, Afro-Brazilian rhythms, often very subtle. It is an essential force in Brazilian music, beyond Bossa Nova and the forms better known here. This is what made Balattou transform into a percussive laboratory. In addition to the musicians, the entire audience was stamping their feet or tapping on the table or their thighs. Those who weren’t tapping got up to dance.

Alberto Salgado and his musicians speak very limited English, which has deprived them of sharing with us their worlds beyond music. But that did not prevent the public from feeling communion and the desire to share.

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Africa / West African traditional music

PAN M 360 at Nuits d’Afrique | Guinea in Circus!

by Alain Brunet

The first “big” show of the Nuits d’Afrique 2024, Afrique en Cirque unfolded on Wednesday at Montreal’s Olympia to a full house. There was a big appetite for this Afro-Quebec circus, this time centered on Guinean culture, typical of West Africa.

“I’ve worked for just about every circus in Quebec on the international scene, and I felt there was something missing: African acrobatics. So I wanted to put on a show about my native Guinea,” explains Yamoussa Bangoura, founder of the troupe. A multi-instrumentalist and acrobat, the leader of Kalabanté has delved into the traditional legacy of Guinea, his homeland, to create a series of musical-circus tableaux, spanning some 90 minutes.

Dynamic, impressive, thrilling, entertaining, humorous, festive, martial, athletic, virtuoso. These are just some of the epithets to describe these acrobatic and choreographic maneuvers of high acrobatics. Four men and two women, some of them amazing contortionists, adapt circus arts to African traditions. They reproduce everyday, traditional practices such as fishing, the market and village feasts, not to mention a few nods to Western life, such as this hilarious number by muscular males à la Village People.

Three musicians accompany them (bass, drums, saxophone, effects pedals, etc.), not to mention the ringmaster, who is in fact the main musician (kora, djembé singing and other percussion instruments) as well as being an acrobat and Kalabanté’s artistic director. Based in Montreal for over two decades, Yamoussa Bangoura is well acquainted with some of the world’s most innovative circus practices, far beyond Cirque du Soleil. A seasoned percussionist, he has instilled the practice of percussion in his fellow acrobats, who regularly contribute to pounding large drums whose horizontals are somewhat reminiscent of Japanese kodo.

The musical direction is hybrid, between traditional Mandingo music and modern Western music (funk, a touch of jazz, etc.). Not rocket science if you know these styles, but solidly executed. The most lasting memory of this evening is that the rich culture of West Africa has legitimately appropriated the universal circus.

Brazilian / Reggae

Nuits d’Afrique 2024 – Kirá Was On Fire At Balattou

by Sandra Gasana

Accompanied by his drummer, percussionist, bassist and guitarist, Kirá kicked off the 38th edition of the Festival Nuits d’Afrique with his guitar. A packed house awaited Manu Chao’s son at Club Balattou last night, his first visit in the city. “Are there any Brazilians in the room?” he asks.

“I’m happy to share this with you,” he says in English. Unlike many concerts given by Brazilian artists, this one had a diverse, multi-generational audience. He alternates between his two latest albums, Semente de Peixe and Olho Açude, one more introspective and the other outward-looking.

The audience started dancing very early in the concert, and the longer the show went on, the harder it was to stay seated. The backing vocals were provided by the percussionist and guitarist, while the bassist kept a low profile. Sometimes, in the same song, we had a complete change of rhythm, sometimes mixing reggae with baião or maracatu. We were treated to some breathtaking guitar solos before listening to the track Mar Mangão. “Here, we go to the sea, to the east coast of Brazil,” he explains before the track.

It’s during the 2nd half of the show that he reveals his stage presence, particularly when he puts aside his guitar to dance. The Balattou stage was clearly too small for Kirá’s dancing.
“We exist thanks to you, so thank you for making us exist, for making us play, for singing, for being alive with us,” he confided between songs.
There was a good sense of synergy between the musicians, and Kirá often interacted with them during the show.

“We’re going straight to Bahia,” he says in Portuguese, before leaving his guitar aside and going wild on stage. He gets the audience jumping, doing dance moves, asking them to get down on the floor and jump up again, which they do with great pleasure. He thanks the crowd in French, Spanish and Portuguese, switching languages from song to song. He takes time to thank all the musicians, the sound technician and the Nuits d’Afrique festival, to the applause of the audience.
“This is the last song, we need your maximum energy,” he asks before playing his latest hit Bota Pra Rodar. “This song is crazy in Brazil,” he tells us, before continuing with a couple of more rocking numbers. I wouldn’t be surprised to see him back in Montreal very soon, and this time in a larger stage where he can move more freely.

Photo Credit: Nuits d’Afrique

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Karma Glider, The Wesleys, and Sun Entire Bring the Sunshine at Quai Des Brumes

by Lyle Hendriks

While some might value a cohesive evening of music above all else, I’ve personally never had a problem with three wildly different acts sharing the stage for an evening. This was the exact situation in the dimly lit, intimate setting of Quai des Brumes, where we gathered for an eclectic mix of electronic, college rock, and throwback pop.

The evening’s biggest surprise came early on with Sun Entire, a three-piece that far exceeded the sum of its parts. What could have made for sombre listening (thanks in large part to the gutwrenching vocals from poet-singer June Moon) was brought to life by irresistible trip-hop beats from Ivann Urueña and dialed guitar from Nico Serrus. Harkening back to the crunchy breakbeats and airy rhythms of 2000s pop rock, Sun Entire walked on a razor’s edge between deeply emotional ballads and downright groovy dance numbers. By the end of their set, it was fair to say they had won the room over with a sound that none of us had ever heard before.

Next up, we had The Wesleys, who you’ve probably heard of if you’ve been to any Montreal show in the past year. Young and with seemingly boundless energy, this group is the definition of good, clean fun—like a college party band all grown up and aiming for the big time. With all four members taking turns singing on the mic and the tempo never dipping for long, it’s hard to find anything to dislike about The Wesleys and their unique blend of indie-pop rock and punk. Like every other time I’ve seen them, The Wesleys looked completely stoked to be playing—an energy that was easily reciprocated by the rest of us.

Lastly, we had an exceptional set from our main attraction, Karma Glider. There is something about this act that feels distinctly modern, yet also so firmly rooted in the traditions of indie rock from a decade or two ago. Evoking sounds from Oasis and The Killers, frontman Susil Sharma brings something unique with his laid-back, effortless vocal delivery and his weirdly nonchalant, blisteringly fast guitar licks. The band oozed confidence, inviting us into a wash of jangly tones and throaty bass that feels so easy to get lost in—like losing track of time on a summer afternoon. On initial listening, Karma Glider might seem simple—easy music for easy listening—but this live set showed the true craft and talent working behind the scenes of this elegant, sunshiney ensemble.

In the end, it was a warm, balmy, hazy summer’s eve with the music to match, and I’d recommend any combination of The Wesleys, Sun Entire, and Karma Glider to those in search of sounds to fit the season.

PAN M 360 At FIJM I The Cinematic Orchestra’s mystifying, live movie world

by Stephan Boissonneault

I had a weird junior high experience when I struggled with identity, and through that time, sometimes I needed to have an escape. That came in the form of The Cinematic Orchestra’s 2001 album, Man With A Movie Camera, which I played on repeat on my home computer and my mp3 Sony Bean device. So it’s safe to say that I felt rather nostalgic when The Cinematic Orchestra took to the Jazzfest main stage to fully play that album live on Saturday night, the concluding day of Jazzfest.

I truly have only listened to two of The Cinematic Orchestra’s albums, but I never imagined I would ever experience them live. I also had no real drive to see them live because, to me, their music seemed like it was served best on recording, where you listen to the scores of imaginary movies inside of your own head. Damn, was I wrong.

One aspect you need to understand about The Cinematic Orchestra is there are a lot of moving parts; constant jazzy drums, a flourishing of synths and samples, tight upright double bass, and the pièce de résistance, the live video art created by founder, Jason Swinscoe. While the band is building the songs, Swinscoe switches between two cameras that are hooked up to a projector and manipulates his footage live; throwing on kaleidoscopic imagery, and warping effects, all shot in black in white to create a silent movie vibe. He also sometimes jams with a typewriter as the nu jazz plays in the background, the typing sound effects sometimes in tune with the drums or keyboards and narrating the projector images in real-time.

I’ve never seen a show like this and the music was fantastic, filled with a whirlwind of riffs that stay with you after a first listen, but the visual component is what’s worth writing about. Swinscoe is a master at videography, probably a guy who has hundreds of film cameras in his home, knowing when to improvise and involve the crowd. The most memorable moments happened during the encore where Swinscoe shot the crowd with a cascading effect as bodies upon bodies, faces upon faces, all slowly crashed into each other while the hit track “To Build A Home,” played. It was truly majestic and words cannot do it justice.

Brazilian / Samba

The Gilsons have won the hearts of Montrealers

by Sandra Gasana

Before the Gilsons trio, who are famous in Brazil, take the stage, their percussionist Ricardo Guerra and trumpeter Osiel Junior first settle in before welcoming José, João and Francisco Gil, to the applause of a mostly Brazilian audience. All dressed in blue and white for the occasion, the three descendants of Gilberto Gil have an undeniable complicity on stage, which makes for a pleasant atmosphere from the outset.

They start the show with Pra gente acordar, featured on the album of the same name, released in 2022. At center stage, Francisco sings most of the songs, with José and João, sometimes on backing vocals, sometimes just on guitar and/or bass. It’s fascinating to see them swapping guitars throughout the show, a veritable musical chair, but with guitars. They continue with Algum ritmo, a collaboration with Jovem Dionisio.

In fact, they’re not all sons of Gilberto Gil, as I thought, but only José is the son, while João and Francisco are grandsons of the great Brazilian icon. “We’re happy to be here, for the first time in Canada,” José shares, before continuing with Vento Alecrim, from the 2018 album Varias Queixas. This opus fuses several styles such as samba, rap, funk, afoxé mixed with electronics.

For the track Vem de là, José takes the lead this time and the other two sing backing vocals, while encouraging the audience to sing along to Devagarinho, on which they collaborated with Mariana Volker. The three artists’ complicity is palpable throughout the concert. They teased each other, sometimes laughing in each other’s ears, and cracking jokes at every turn.

Another track the crowd seemed to enjoy was India, a collaboration with Julia Mestre. It’s João’s turn to repeat several times that they’re happy to be in Canada, that they never imagined their music would have brought them here, followed by a round of applause.

When they play the first notes of Swing de Campo Grande, the crowd starts screaming and bobbing to the beat. The same goes for Love, Love, on which they get the audience singing lalalala over a trumpet that’s delicious to the ear.

They alternate between the two albums, with A voz, or Proposta, which features some jaw-dropping solos by João. They couldn’t close the show without singing Varias queixas, the hit that put this trio on the map, as they say.

The encore came very quickly, with the audience shouting “Eu não vou embora” or “I am not going away” from the foot-tapping crowd, shaking the floor of the National. So they return to share Um so, Duas cidades and Voltar na Bahia, incorporating José’s cavaquinho, who also has fun on percussion at times, leaving the other two to dialogue with their guitar. They go on to cover a few samba classics, such as Dona Ivone Lara’s Alguém me aviso, much to the delight of the audience, who seem to appreciate the long encore. My personal favorite is João, whose voice most closely resembles that of Gilberto Gil, and who seems to be the trio’s rebel. And we all love a rebel, don’t we?

The opening act was Toronto-based Brazilian singer JØY Brandt, who shared several of her original compositions with the audience, such as her most recent track Vem. She also delighted the audience with a cover of the Edson Gomes classic Árvore, which she revisited with her own touch. She was accompanied for the occasion by musicians all originally from Bahia: percussionist and drummer The Real WheresBaiano, Bernardo on guitar and Luciano Vila Nova on bass. Of course, none of this would have been possible without Showzaço, and in particular Ulysses de Paula, who has been bringing high-calibre artists to Montreal for several years now. Between Emicida, Zeca Pagodinho, Nando Reis and soon Jorge Aragão in August, he no longer needs to prove himself. This visionary has become a key player in the Brazilian art scene in Canada.

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Modern Jazz

PAN M 360 at FIJM 2024 | George Coleman at Upstairs, the bet of an almost nonagenarian

by Alain Brunet

As long as we can’t testify to it, a concert by an octogenarian, or even a near-nonagenarian, is far from a guaranteed success. It may even be worse than Joe Biden’s most recent performance… Sometimes an old person can’t offer much except his own legend, so it’s best to stay at home. Fortunately, this was not the case for George Coleman, 89 years old and unstoppable! And not a single grey hair, we noted. We are well and truly at the dawn of trans-humanity!

Joking aside, this now mythical tenorman, a guest at Upstairs for two consecutive nights this week, was remarkably verbose, sitting comfortably in front of his tenor. On Thursday night, his small ensemble consisted of drummer Darrell Green and bassist Ira Coleman – no relation to his employer, and camping equipment is excluded from his circle of acquaintances.

Added to this core group is an ivory-haired guest, a Montrealer by adoption since he teaches at the university level: French pianist Jean-Michel Pilc accepts many challenges, including that of accompanying George Coleman, visibly pleased with this virtuoso contribution to his own Montreal stopover. It’s understandable. Pilc has an admirable command of the repertoire on offer here.

And what is this repertoire? Bebop and hardbop themes and harmonic progressions, polyrhythmic swing never far from the blues, and why not Some Day My Prince Will Come or even The Girl from Ipanema at the end of the set?

Roughly speaking, as we leave this generous and very sympathetic set, George Coleman’s phrases certainly don’t have the tone of his heyday (50s and 60s), but that doesn’t mean they deflate during performance. The old wizard’s sax sounds are less robust and agile, but rich, round, beautiful and wise.

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PAN M 360 at FIJM 2024 | Makaya McCraven Becomes Headliner

by Alain Brunet

Under the guidance of visionary drummer and composer Makaya McCraven, a Chicago musician of whom I’ve been a thurifer for some years now, we were treated on Friday to rereadings of his recent material, especially the material from the album In These Times, released the fall following his FIJM residency in July 2022. Fewer surprises, less astonishment, less excitement, but just as much quality and brilliance in the playing. Just as much competence in the personnel put forward.

One can only imagine the delight of jazzophiles at their first encounter with this music played in real time! Théâtre Jean Duceppe was about 90% full, for a performance lasting about an hour and a half.

There was Joel Ross, obviously a vibraphone virtuoso, who had the opportunity to show off his two-mallet skills. Marquis Hill, trumpet, fulfilled all the tasks requested by his employer, with whom he has been working for some time; the exposition of the themes was perfect, the solos circumspect, without any major sparkle.

Junius Paul, electric bass, is another loyal Makaya McCraven collaborator, and the main support for the extraordinary rhythmic figures generated by the drums. The bassist also knows how to sing, and will also express himself through his voice in Makaya McCraven’s excellent mashup of his music with that of the late Gil Scott Heron’s album I’m New Here, including audio extracts from the late poet, and also a chorus sung by Junius Paul.

As for harpist Brandee Younger, we’ve heard her in this environment before (both on record and on stage), and she also has a solo career. She was in MTL in July 2023, and her concert at Studio TD was a great success. On the Makaya side, the harpist is at one with the ensemble, both as a gifted soloist and as a generator of harmony. The aura of legendary harpist Alice Coltrane is not far away. Once again, the depth of the drummer, certainly one of the most innovative of the current period, was evident.

We can’t wait for Makaya McCraven’s next chapter, but there’s still time to enjoy what he’s put forward so far. Prior to the release of In These Times, the percussionist had been creating pieces inspired by electronic processes and repurposing them as instrumental music. On Friday evening, this impression was less strong, as was the case when listening to his latest album.

Why is that? The composer’s most recent work incorporates aesthetic codes much closer to modern jazz and jazz groove. The rhythmic foundations remain visionary, the melodic and harmonic approaches more conservative, and that’s probably why it works so well with music lovers. For the future, in any case, let’s be sure that Makaya McCraven will be a headliner in the territory he’s combing. Let’s rejoice: very few artists of such depth can claim such a status.

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Contemporary Jazz / Modern Jazz

PAN M 360 AT FIJM 2024 | Fred Hersch, one of the most beloved jazz pianists of our time

by Varun Swarup

Fred Hersch’s concert at the Montreal Jazz Festival, fittingly held in the intimate Gesù venue, was a tour de force in solo piano performance, and by the end, one felt they had witnessed a master at work.

Hersch’s playing was characterised by extraordinary precision of articulation. Each note was delivered with clarity and determination, yet his touch remained delicate and nuanced. This precision allowed him to navigate complex passages with ease, ensuring that even in moments of dense harmonic clusters and dissonant voicings, the underlying melodies remained clear. Perhaps one of the most remarkable aspects of Hersch’s performance was his masterful use of silence and space. He allowed the music to breathe, creating moments of profound stillness that heightened the emotional impact of his playing.

The repertoire was a journey through a diverse musical landscape, featuring works from jazz legends like Benny Golson and Thelonious Monk, as well as compositions by Antonio Carlos Jobim and Canadians Joni Mitchell and Kenny Wheeler. Hersch’s ability to seamlessly traverse these different genres and styles was a testament to his versatility and deep musical understanding. Each piece was treated with the utmost respect and care, yet infused with Hersch’s distinctive improvisational flair, whether it was one of his own compositions or a reimagined standard. Hersch’s interpretations were deeply personal, reflecting his unique musical voice and his deep connection to the pieces he chose to perform. The encore, Billy Joel’s “And So It Goes,” was a perfectly tender ending to the night, condensing the evening’s themes of introspection and emotional resonance. It’s easy to see why he is one of the most beloved jazz pianists of our time.

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Hip Hop / rap / Soul/R&B

PAN M 360 at FIJM 2024 | Erick the Architect, A Guided Tour of Brooklyn

by Jacob Langlois-Pelletier

“Can I take you to Brooklyn tonight?” These were the first words of American rapper, singer and producer, Erick The Architect, as he entered Club Soda. On Friday night at FIJM, one third of the iconic New York group Flatbush Zombies took the crowd deep into his family history and the reality of his childhood neighborhood, navigating with finesse between hip-hop, rap, R&B, soul and dancehall.

Visiting Montreal to present I’ve Never Been Here Before, his first solo album released earlier this year, “the Architect” set the mood for nostalgia right from the start. From start to finish, various archival projections of all kinds scrolled behind him, from an old soccer game to excerpts from The Simpsons, to recordings of video games he played when he was no taller than three apples.

A certain narrative thread runs through the show: the MC talks for several minutes about a member of his family, puts on a few related songs, then repeats the whole thing. In this way, the audience gets to know his brothers, his mother, his father and even his cat.

Why is the 35-year-old artist telling us all this? Simple: his entourage has shaped the music he makes today, from his kindergarten love of James Brown to his brothers’ keen interest in the Wu-Tang Clan collective. Fans of his work will certainly have been seduced by the rapper’s many anecdotes, while the curious will say that the pace of the evening was affected.

Whatever the case, fans in attendance got their money’s worth from the quality of Erick the Architect’s performances, which lasted almost 120 minutes. Accompanied by a DJ and a musician alternating between keyboard and bass, the rapper delivered every rhyme from his latest opus with passion and impeccable technique. It’s hard to give a more accurate performance – everything was there.

The most memorable aspect of his performance was undoubtedly his versatility. It seems so easy for the architect to travel through his different musical influences, from a trap track like Parkour to the excellent Breaking Point, a haunting pop ballad.

Almost two hours after taking to the stage, the psychedelic rap icon closed with his disco hit Candle Flame, a collaborative piece with British soul-funk band Jungle. “This song will make you dance and burn the calories in your poutine,” he said with a smile.

I’ve Never Been Before, failing to repeat myself, is one of the most complete and interesting hip-hop offerings to have been unveiled since the start of 2024. There’s no doubt that Erick the Architect is building a superb foundation for his solo career.

Photo credit: Novak Productions

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Jazz

PAN M 360 at FIJM 2024 | Dominique Poirier, to be followed closely

by Vitta Morales

It is safe to say that twenty-nine year old Dominique Poirier has been having an impressive year. The jazz accordionist from Oka won the 2024 Oscar Peterson Scholarship Award which, in addition to a cash prize, also granted him a spot in this year’s festival programming. This opportunity would, understandably, make any emerging artist nervous. Now consider that Poirier taught himself to play the accordion only four years ago. Personally, I would have felt the urge to puke and give my time to someone else.

Thankfully for us, Poirier didn’t take either of those options and instead impressed by leading a quartet in an hour long show of well arranged standards from Billy Strayhorn and Charles Mingus, as well as interesting compositions from Poirier himself. Joining him on the Rio Tinto stage was guitarist Ben Gilbert, bassist Oscar Robertson, and drummer Shayne Assouline.

The first thing that struck me was the unique sonority the quartet achieved by doubling the accordion and the guitar. Poirier and Gilbert played more than a few burning melodies note for note, and other times at the octave. This gave a thick texture with a bit of brightness. Poirier did need about half a song to sort out his fingers but once his dexterity returned the rest of the melodies were played quite smoothly. In addition, his solos contained impressive vocabulary and his comping gelled nicely with the guitar. He clearly practiced a lot in four years.

The rest of the band was equally impressive. Robertson’s quarter notes when walking couldn’t have been played much better even by a metronome. His intonation was rock solid too. The few times he was given a solo the melodies were certainly serviceable but much more impressive was the strength of his fundamentals. An aspect which too many bass players sadly neglect. The other half of the rhythmic duties was of course Shayne Assouline. It should be said that Assouline has a good swing feel and performed ably throughout; however, he truly excels when playing decidedly more modern. (Not surprising considering he’s a veteran of hundreds of Turbo Haus jams). Unfortunately, only a singular song at the end of the show gave Assouline the chance to show off his hip-hop style chops. This is admittedly a very small complaint in the large scheme of things, however.

A larger complaint I do have is the use of sheet music on stage. Though helpful to remind a player of a song’s form or a particularly tricky passage, overreliance can cause a disconnect between audience and performer. The strongest soloist of the bunch, Ben Gilbert, had some killer lines that were somewhat diminished by the fact that his gaze was firmly on his charts. Poirier even looked in Gilbert’s direction a few times clearly feeling the strength of his solos but Gilbert’s nose was practically glued to his iPad.

The evening proved to be a successful one for Poirier regardless and I’m sure this formation will work out the finer details should they continue playing together. Poirier has shown himself to be a talented arranger and composer in addition to a competent player on a very niche instrument. I have to wonder what he’ll be capable of in another four years. I’ll be following closely.

Dominique Poirier · Le Bon Temps (Valse)

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Fado

PAN M 360 AT FIJM | Ana Moura, The Queen of Fado

by Michel Labrecque

Sculptural, dressed entirely in red, Ana Moura presented herself as the queen of Portuguese fado which she is, to the acclamations of the room, largely Portuguese-speaking.

Whether we like fado or not, this traditional Portuguese music which is the equivalent of the blues, the 44-year-old lady has a powerful, deep, extraordinary voice, which lets out deep feelings, often sadness, which is unique to the genre.

With her trio of musicians (drums, bass, Portuguese guitar), she first launched into more traditional fado, before slowly taking us into her new musical universe, more tinged with African and electronic sounds, with tones and rhythms that make the music more interesting.

After three songs, Ana Moura spoke to us, at great length, in English, a compromise language, since she explained to us in French that she does not speak French well. There are people who hate it when an artist talks too much, because it breaks the rhythm. But Ana really wanted to bring us into her world and make us understand it.

She explained to us the genesis of her latest record Casa Guilhermina, the house which bears the first name of her grandmother, who is of Angolan origin, just like her mother. As a child, she constantly listened to Angolan Semba (not Brazilian Samba). She told us that this album is imbued with these rhythms and other regional music from Portugal, which are very important to her.

She also dedicated a song that she wrote for Prince, yes the one from Minneapolis, who had already told her that he wanted to produce her music.

Throughout the performance, the three musicians were accompanied by synths, accordion, violin and recorded backing vocals. It’s like we’ve been treated to the low-budget version of the show.

Despite some reservations, it is difficult to doubt the authenticity of the Portuguese singer, who seeks, with other compatriots, to diversify current Portuguese-speaking music. And to share it with the planet.

My two Portuguese seatmates had bright eyes and were constantly moving. At the end of the concert, cheers rang out.

Everything was said.

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