Groove flamen-killah
Saturday, June 30th, 2007, late in the afternoonWell, the Ojos de Brujo and Son de la Frontera concert was great. S de la F (or as I call them, the “geniuses from Morón” ;-) were much more traditional than I expected. They had two guitarists, two singers and a dancer. It was great flamenco, but with only a few genre-bending twists (I especially liked a number that I would describe as country and western-slash-flamenco). Unfortunately, some annoying people standing behind me on the dancefloor were disrespectfully “imitating” the singing and clapping, something that was obviously new and strange to them. Some people are not very open-minded. We finally had to tell them something in a language they would understand: “Ferme la!”
The concert got better from then on — Raúl Rodríguez, the lead guitarist (well, most of the time he was playing a guitar-like instrument known as the Cuban tres, which has a higher, sharper tone), was really incredible. He also had a very likeable look: he came across as genuine. And with a super-expressive face; so he smiled, frowned and grimaced his way through all the numbers. It was great. They were obviously having a great time, a theme which would be echoed in O de B’s show. Later, when O de B had just finished their two-hour set, I saw Raúl standing alone at one of the club’s bars, so I sneaked over and told him how much I enjoyed the show. I think he was a bit surprised to have a rubio speaking to him in Spanish…
O de B were great, as they were last time at the Spectrum. Even if you’re not into their music it would be hard not to feel their joy of performing. The Metropolis was packed to the rafters, and I found a spot on the dancefloor about 4m back from the stage. The Montreal crowd was very good to them, too. The group seemed surprised and delighted at how much we were enjoying them. (I wonder if they had as good receptions in San Francisco or New York, where they’d been just before.) Much of the crowd (where I was, at least) was Spanish, Spanish-speaking, or local flamenco dancing “chicas” (students). It seemed everyone around me knew how to do palmas.
At one point, someone leapt up on stage and started dancing. It turned ugly (not because anything bad happened; just because those people made fools of themselves!) but the band wasn’t at all freaked out. The security people are usually pretty quick to toss folk off stage, but in this case they hesitated. More and more people took that as their cue to get up on stage. Eventuallly, the head security guy (looking very pissed off at his indecisive underlings) intervened to get the impostors off-stage. It was a bit tense and weird, mainly because it looked like the people up there were there only because they wanted to be seen, not because they were into the music.
During one of the encore numbers, Marina “la Canillas” hauled a girl up on stage. She then started bringing a few more girls from the audience up on stage, and one of the security underlings actually was recruited to help her. They danced, and this time it had a good feel to it (and, no, not just because they were all cute girls!); they obviously knew and loved the music and were singing along. Eventually grumpy security guy very politely helped them off stage again.
Especially impressive — besides the magical stage presence of la Mari — were multi-percussionist Xavi; the “real gypsy” guitarist Ramón; Javi on bass and Maxwell Wright with his high-speed vocal effects. There was also a beautiful flamenco dancer who performed during some numbers, along with the requisite costume changes. This group is all about the music. They love to perform, and they do it brilliantly. They’re also notable for eschewing big-name record labels and instead have made it “their way,” under their own record label. The video projections were also fantastic; not detracting from what was happening onstage, but instead a perfect accompaniment. A great show full of “good karma,” although I believe I should have worn earplugs…today I still can’t really hear in my left ear, which was dangerously close to one of the main loudspeakers.
