“Time King” landing in SP this Friday 11; Gilberto Gil will make four shows in the city in his farewell to the great performances
THE Show time king It consecrates one of the giants of an enlightened generation of Brazilian music without attracting nostalgia and sentimentalism. With intelligence, elegance, popular charm and due size. Musical and physically more sculpted for live performances in large spaces compared to their genius Caetano Veloso and Chico Buarque couple, Gilberto Gil It is, almost 83, an animal – and a magician – with very well preserved superpowers and physical skills.
What he showed, at the debut in Salvador and at the first four nights of the tour, and this should be repeated San Paolo from this Friday 11, in Allianz ParqueIt is a must.
In terms of scenic entertainment and visual appeal, it owes nothing, no hypertensive cigarette, Mariola or Yolanda, to international pop stars. In terms of repertoire and collective experience, it can be much deeper than any “experience” promised in the festivals and in the main commercial events of the show.
Directed by Rafael Dragud and with the scenography of Daniela Thomas, Time re It is up to the ambition, or rather, the objective of the confession of the show, which is “to celebrate the large musical work of the singer and composer Bahia, a soundtrack that is rooted in the culture of the country, as well as being present in the DNA of all the Brazilians”.
The second is Procession (1965), introduced by the traditional sung prayer My Divine St. Joseph: a strong moment, underlined by video images and visual effects on the screens that always expands musical fiction. Therefore the point of reference tropicalist Sunday in the park (1967) makes the curve of Gil’s creative trajectory.
In the eighth music, Cup (1973), one of the most intense moments of public response. A choir of “without amnesty” usually precedes or overlaps the testimony of Chico Buarque (edited by sudden cuts in the text, one of the few imperfections of the show) which recalls censorship in the days of the military regime. With the historical images in the background, including a track with the “dictatorship killer” phrase, Gilberto Gil faces the vocal challenge of the agreement with Galhardia, reaching the aforementioned drama.
Walking until the end
The initial third of the show closes with Again in Bahia (Introduced by a trait of Batmacumba), the rock chosen to interpret the years of exile in London, illuminated by an incendiary ground of João Gil and the emblematic Make again (Introduced in accordion by a stretch of I am thirstyanother composition of Dominguinhos and Anastasia) e ReblWhen the side screens pull/teach the Afro choir (Kiriê, Iaiá) to the public less familiar with the song and the percussion duo Gustavo di Dalva and Leonardo Reis gives his show in the proscenium. In the introduction, Gil tells of his journey into transformation to Nigeria in 1977 to participate in the World Festival of Black Art and Culture.
After the twelfth song, the megahit Don’t cry anymoreWith a more colorful politician in the tone of the main years (and a counterpoint in the scenario, Bonfim’s tapes with “Everything, Everything, Everything Will will reflect”), the Bailon part arrives, with Gil Electric, dance guitar, modification of the reggae sequence (Extra, We run away AND Novelty), an apothel explosion of sparkling lights on the public in the album “Quincyjônica” ” ImprovementAnd another crack killer of the 80s dance phase: We have to see the moonlight, Punk periphery (When he shows the middle finger in laughter, also playing with other “digital” formations of the gesture) and Security rock.
The last third, with Gil sitting on the guitar, is gently introduced for Mestrinho, playing Spiritual retreatsfrom the album Make again (1975), first If I want to talk to God. From there, depending on the day, the voice can be affected a bit, which is natural, considering the duration of the show.
The mystery of special participation in the show Gil
Part special participations surrounded by Mystery (in Rio, Marisa Monte had Peaceand Caetano Veloso in Superman-the song) Often paint in this part, in the middle of pearls such as Star (Only the repertoire novelist song – although he was composed in 1981, Gil recorded him only in 1997). In DarmDedicated to Black Gil, the images of the big screen moves by showing the singer as a child, with her mother, Sandra Gadelha, inspiring the song.
In a breath before the last resistance, Nara Gil and Mariá Pinkusfeld give a special shine to Esotericand Thiago Queiroz Fifans renews the great classic Express 222. To shake any possibility of tiredness, the band Wedding ring (who on one of the nights of Rio had a Lulu Santos soup), with Gil asked for the participation of the people (“Where is Palma?”), EMORIOR (Played in Salvador with the Bahia system, in the mating of the hunting day) and another irresistible ijexá discratèque, Every Bahian girlsewn in the seminal Frevo torn (1968).
Like the audience, Gil dances at ease, without keeping energy for the Bri. And he returns devastating, with the famous introduction of guitarira of Waiting in the windowof Targino Gondim, leaving the accident on the VIP track a Forró salon. Grand finale is with That hug.
Gilberto Gil leaves the scene by foaming, after Libitum with a stretch of In the center of the shoemakerby Ary Barroso. Of course: the best place in the world for two hours and twenty minutes of Time re This is where this tour is passing.
Time King: Gilberto Gil in SP
11, 12, 25 and 26/4, at 20h: Allianz Park. Av. Francisco Matarazzo, 1705, água Branca
AS: R $ 280/R $ 530 (low availability; official cabins in the Backstage Mirante, score, one and fanzone range from R $ 900 to R $ 2,200).
Source: Terra
Earl Johnson is a music writer at Gossipify, known for his in-depth analysis and unique perspective on the industry. A graduate of USC with a degree in Music, he brings years of experience and passion to his writing. He covers the latest releases and trends, always on the lookout for the next big thing in music.
