It’s down there to embrace the public, to be embraced by the public, kissed by the public. He is downstairs the man responsible for the highest point of the penultimate day of the Vodafone Paredes de Coura. Your name: Charles Bradley. What are you doing? Sings the life, the struggle to succeed in life, the injustices that this brings and the love that overcomes everything. Charles Bradley is a soul singer. A huge soul singer, accompanied by a band that lives up to the baptism. Charles Bradley & amp; His Extraordinaires. It was extraordinary.
The festive dance in defiance, smiling to the commotion. Bradley opens his arms sincere thanks to the full audience that received it. Already his band left the stage, as the stage lights are turned off, as it begins to be prepared for The War On Drugs and Bradley, 66 years of life, half a dozen of them met since found it a career, continues moved , to the public that both cheered and danced so much with it. They all want to embrace. How not want?
When the gospel came down to earth from the heavenly plains to sing the life of every day, with its glories and its failings, such as the blues to sing for half century, was born this gift to humanity called soul. Charles Bradley “is” the soul. The concert offered in the exhausted Paredes de Coura, although the vast public that the eye could not be as wide as Thursday, the day of passage of Tame Impala at festival, was a lesson in history, knowledge and intuition Music.
As spotless as the suits worn by the Extraordinaires highly elegant, super band where we find elements of the Dap Kings, the Budos Band or Menahan Street Band. As vibrant as the instrumental with metals in uproar, organ bustling and down swingar around the guitar groove that erupted in the middle of the concert so that Bradley could change the fact that appeared first on stage by another of golden highlights which brought the second half.
The drummer made master of ceremonies heat will ask the public to call Bradley back. Bradley and returns. Steps to James Brown, his hero, the man who paid homage at discrete concerts in New York bars in the 1990s, hoarse cry when words serve little to express what you want to tell us, and the band that knows everything, but it all on the arrangements of Motown, on unshakable class Stax, what is necessary so that the soul is soul truly.
It’s Saturday morning and the sky is gray, threatening rain that will fall strong on all hours – and we thought we were protected, given the heat of the previous days. Some people camper decides not to take risks and there we see carrying tents and backpacks road above. The Ratatat prepare the sound of intergalactic journey that will close the festival and the natural amphitheater still devoid of people shows the effects of the passage of tens of thousands of feet on the grass, which resulted in the unprecedented appearance of dust clouds in Paredes de Coura. We prepare for the Temples, the Fuzz, Lykke Li, the Woods or Natalie Prass that will make the farewell poster, but we are still under the effect of Friday night.
Haunt an imaginary desert
In hangover of a preenchidíssimo day, the celebration of Tame Impala, the infernal concert Legendary Tigerman and appearance of priceless Father John Misty, we saw the X-Wife open the main stage to show that his music is still very much alive, we saw Allah Las prove itself as the right band to liven up dances frequented by psychedelia fans of the 1960s (the rigor in the sound recreation and aesthetics, the Byrds to Velvet, impresses as much as the limits), we saw Mark Lanegan haunt an imaginary desert with his voice (well) aged in whiskey and tobacco, and hand over the microphone, motionless body, screw it up when switched the night mysteries of American by the sounds of a post-punk British (version Atmosphere , Joy Division, included) instantly broke the spell.
We saw them as turns in the afternoon that Watermark is a phenomenon that renews year after year – Fish, the former guitarist of the band, offered Chaga the audience that wanted to hear in the relaxed afternoon at the Jazz on the lawn; Pedro Mexia and Carlos Vaz Marques, two of the Voices in Writing heard these days the early afternoon on the lawn next to the river Coura, witnessed the general appreciation for the band to see their reading of a letter Manel Cruz being the most applauded among all read to the public.
Performer irresistible
widowed if all this before Charles Bradley and found himself after them the The War on Drugs invest night away by the music, the Slave Ambient and Lost in The Dream which aims to become escapist dream of a Bruce Springsteen, the 1980s, in road-trip for America of endless highways.
The band Adam Granduciel was the head -of-poster and all seemed right in his concert: live, get lost in the layers of sound that disk, involve us completely without leakage hypothesis (and do not want to get away from that sound), and you gain a tone Old-concert epic with guitar going through in extended solos songs like Baby missiles , in reverse , Your love is calling my name Red eyes or Under the pressure, with sax solos to remember the E Street Band (and, quite incidentally, the headscarf bassist to send us to Steve Van Zandt), with this alchemical ability to Granduciel and remaining band Popularity phenomenon cemented to the last, and great, Lost in the Dream , in turn outward signs of azeiteira pomp of stadium rock 1980 in expansive, dreamy, liberating music.
I remember it because the profession things, we have a notebook filled with notes about the concert ended, on Friday, the main stage. For that reason alone. Because, in fact, both you, like, moreover, the The War On Drugs, we are aware that it would be difficult for one concert left a lasting mark on the memory. Yes, certainly they knew it. They knew what had happened before going on stage.
There are songs, songs alert as The world (is going up in flames) , the debut album No time for dreaming , songs with Marvin aye duet of lightness with Tammi Terrell ( You put the flame on it , the second album, Victim of Love ) , ballads of an inescapable tenderness ( Lovin ‘you, baby ) and activist funk to pair with the War Edwin Star: seizure Confusion wrapped in eco so that they better reflect what it is sung – “ We gotta change the world and make it right ” urges Bradley, who knows a lot about the world’s ills. There are songs, we said, and there is everything else.
In the documentary Soul Of America , which follows in the weeks preceding the presentation concert of their debut album, acompanhando- into the slum who lived, showing him to take care of invalid mother to sew appliques on the fact that you would use on stage or to remember the enormous difficulties we went through to get that coveted since age 14, living his immense voice and his talent, there is a moment when, after receiving a nasty phone call that puts you to do more accounts to life, the money does not stretch so you can pay the rent and the necessary support for the mother, Bradley breaks. Her tears fall down his face as sighs: “Sometimes I think: ‘! God calls me’ All day mourning and grief to maintain honesty and dignity as a human being on this planet. I’m not going to change. I love God. Love everyone. “
Four years later, Charles Bradley came to Vodafone Paredes de Coura to say that has not changed and that it is really true that everybody loves. He bowed to the public so much that won with his voice, with his music, with his humanity, and thanked. We who saw him be performer irresistible, we saw, humorous, throwing up on the floor and it sing an intimate moment between tens of thousands, we were privileged to have with us a musician this dimension is that we appreciate everything they gave us. There was a lot of music on the penultimate day of Paredes de Coura, but it all pales before the LORD 66 that climbed the stage at 23.15. Your name, Charles Bradley.
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