Gilberto Gil: The Patriarch of Music

Of all the possible artist models, Gilberto Gil has chosen that of the patriarch, a figure that almost assimilates him to the flamenco and blues traditions. Or, rather, life has pushed him to it: as one of the venerable representatives of tropicalia along with Caetano Veloso and an eminent Minister of Culture under the government of Lula da Silva between 2003 and 2008, he has gladly adopted the role of Family promoter of music from the American South.

The father of all musicians, real or putative. The Gil family, as the name of the show indicates, accounts for two thirds of his band, including sons, wife, granddaughters and sons-in-law who alternate with the patriarch on stage in a successful big band. But perhaps the best example of that will to be a patriarch is his didactic spirit when it comes to trying to teach the public the influence that Arab music has, via Spain, on the baião of Luiz Gonzaga, which inspires «Expresso 2222».

At 81 years old, Gilberto views his concerts as patriarchs usually do, as a party and not as a farewell, from the start with a particularly funk version of “Patio”. By the third song, the patio, full of Brazilian (and Portuguese) exiles who occasionally shed a tear, is already clapping to the rhythm of “Andar com fé”. It is possible that the concert fell flat in some of those moments designed to balance the repertoire, such as the memory of Harlem Désir, president of SOS Racismo, with “Touche pas à mon pote” or Bob Marley’s version of “Time Will Tell”, although the beautiful tribute to the recently deceased Rita Lee with «Ovelha negra» was appreciated.

Starting with “I’m crazy about you, América”, yes, everything increases in intensity until the conservative Teatro Real is able to stand up, especially in “Aquele abraço”, where Gil even dares to take some daring dance steps. It is possible that, as is often the case with so many musicians of his generation, his music already lacks the subtlety of his classical years, but no one can fault a happy, joyous and enjoyable summer night that concludes with an exultant «Toda Menina Baiana », perhaps because the concert was not about Gilberto Gil, but about a whole tradition (Brazilian, Caribbean, but also African and Afro) that will not disappear when Gil dies. Long live music.

Text: Héctor García Barnés

Photos: Salome Saguillo

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