The sun warms everything. Tonita on coffee in Rossio Square where we find the stage Lopes-Graça, the principal, the coffees and sandwiches come apace while, behind the counter, it is said that the heat has yet to arrive in the afternoon. Further down, at the gates of the Walk Street where Giacometti stage is installed, the Mirandeses donkeys are ordered and with children in the back, ready to begin the journey through the fields surrounding the village. It’s Saturday morning in Hundred Soldos, beginning the third day of the festival. Repair of details like gambiarra replaced on the stalls of material commemorating the festival (the famous “tixas”, mascot of the festival, the bands CD compilations of previous editions, T-shirts and sweatshirts alluding to the Good Sons).
Friday evening, at early dawn, the square was full: the Pipers Lisbon extraordinary voices united in a powerful singing: “piper plays we’ll dance” And yes, all this dance Lenga Lenga intoned the breath of bagpipes and thunderous percussion. “Thank you, Good Sounds, you are too,” thank Carlos Guerreiro, before the encore , before the final bow of all the group. A huge concert in their day stuffed. Before the Pipers, the Stage Eira, Capicua, accompanied as usual by DJ D-One and MC by M7, had introduced Crazy Mermaid , his last album, before a threshing floor filled with people: the words are a weapon (“And who can resist the Portugal / Who can see the country mingar doing nothing / You do shoot the cobblestones?”); words, so ordered, thus thrown on classic hip hop beat, steeped in history (José Afonso to hear, living memory, present), are a godsend to our ears ( sample Guitar strummed to give balance to the verses: “I have a conch telling me strange things to your ear / I have a heart sponge that grows with sadness”). Intimate and activist voice voice, an inspiring lyrical richness, sing your house in the field in the most appropriate setting: “What is your favorite perfume? Hot bread, basil and wet “land. And adapt the irresistible groove of Vayorken to the occasion:. “In Hundred Soldos, we have lots of laughs”
Before the Pipers and Capicua, the Stage Giacometti where Mirandeses donkeys would leave the next morning, Samuel Úria, alone on stage, Neil Young was the intensity that tore folk acoustic guitar, Lennon was (seen on the rooftop concert in London) Hawaiian shirt, long hair blown by wind . It was nothing like that. Only Úria: impressed by so many who knew him all the letters, they asked “obscure songs” in encore (left a Lost Sheep which rose from obscure verse sung by the public) delivered to date as a man of rock’n’roll with words of songwriter particularly inspired by the tip of the tongue: and they heard them from lean Scarf Stubborn Do not drag my coffin or Barbarella and wispy beard . “I love playing festivals, but the Good Sons is indescribable,” say the bard. The village people “is the village are, is the organization where the people of the village. You are. “Samuel Úria was right.
There are children waving their arms as the audience in the front rows of the concert Capicua, there is a very old man, tired but happy day wandering the old man dozing in a bank in Rossio Square, blissfully oblivious to the bustle around them. There are new and old, freaks and arranjadinhos, families to show the village the children and groups of happy teens are like teenagers in summer. Samuel Úria features a song dedicated to his land and becomes loose a scream between the public (“! Viseu”), toured the grounds and we will hear: Alentejo accent, accent Minho, Azorean accent, or there was a partnership between the Hundred Soldos and the Walk & amp; Talk, urban art festival in Ponta Delgada. The whole country in happy harmony in a small village of Tomar. Over the country: there is one group of Spaniards surprised by the performance of the Pipers, with their little Catholic St. Johns, with its Avis rare , dedicated “to all the bastards in government who suck our blood “with your Macaréus , who indulge to that music that invents a new tradition made for communal trance dance”. Blow pipers, we dance “And oh how we danced
<. p> danced both in emocionáramos, hours before, with fado in Eira – diversity is also a weapon, and on the night of Hundred Soldos we faced the richness of that around here it is today: the fate glossed for folk epic of Brass Wires Orchestra, songwriter for them with blood in gills, then to hip hop, hence for Pipers of tradition revisited, them to taste the set Moullinex. Fado in Eira, we said. Gisela John voice so full soul put into every word, life poured into song: party there (“there in my village, does not turn the turn the tap your foot”), there is a pain that comforts and chills ( My friend is far ), there are totally fado fado ( came back Beatriz da Conceição ), the improvised chapel when the guitar Ricardo Parreira betrays with a broken string. Gisela John fills the lungs with air and loosened up tremendously rich and expressive voice, the body moves to the flavor of the words. The contrast between Gisela, fadista not larger than life, precisely the size of life, and Gisela, the girl smiling and very sweet voice that speaks between songs, it’s almost heartbreaking. The set is, and it certainly irresistible.
From the first day of Good Sons, Wednesday, with the reception to the camper, passed by Cem Soldos 15 000 spectators. The festival hosts this Saturday Ricardo Ribeiro, Tiago Sousa, Bent or Noiserv Bone Vain and ends Sunday with The Presence of Ants, António Chaínho, First Breath After Coma, Badlands, Amélia Muge and Sérgio Godinho.
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