This Saturday night it rained a little. But it has not prevented it from being a truly memorable night.
He closed it by putting hundreds of people to dance, the Grupo Bonyé.
But first it was the magic of Buika, revived, delivered, with an energy that enveloped the nearly 2,500 people who saw the festival.
Buika, delivered
Before Buika comes on, the trombone begins, the bass plucks and immediately the snare drum provides rhythm. Enter. An unusual format for a unique voice. Buika wears a skirt with plant motifs. An African chant to Eleggua.
Don’t think that because I sing, it starts to sing. The concert is dedicated to María Elena Gautreaux, president of the festival. Drink something, pour a little to the saints, or to their dead. He asks for something there for himself.
From the slit throat it keeps going up and up I dream of her. Korean people. The trombone follows her. Improvise.
“So that the moon continues to be the guideline of our madness”, mentions and sings Luz de luna, by Alvaro Carrillo. And that in his style and his voice it is an absolutely new recreation every time he does it since his album Niña de fuego, from 2009. Now the bassist gets up excited and sits down again. “Well, since you left, I haven’t had the moonlight.”
Witchcraft. She dedicates the song to the dog men. The bass player makes the five-string bass sing, which at times plays the role of a piano. While Buika overflows sensuality dancing and singing.
“One is capable of boycotting oneself in order to keep the love one wants,” more or less he says and starts the trombone, singing. “There is no one in the world.” Korean people. «Slowly my mouth goes over your body».
Take another sip. She asks for a tone. Trombone da guaguancó, thanks to Santiago Cañeras. He asks for a “little” box; it means soft. Buika lets out a spurt of voice. It’s a ranchera and the harmony is provided by the bass.
Ask for rumbita in the drawer. And she asks for the trombone and she goes back to the gods. It is that guaguancó that had been hung. Don’t forget about Osvaldo Farrés, which was popularized by Antonio Machín… «tell the truth, say what is fair».
«Right now I have to admit that I am in a trance. Forgive me because I am very free, I am very free »and she vocalizes« I feel very connected with everyone here ».
“They had told me that I do not have permission that it is not real that you cannot love a person you do not know,” he confesses. “But I love you very much. And I’m not used to believing everything they tell me either, because I tend more to believe my inner voice. I’m here tonight to thank you »she talked about« I had bosses, record labels and managers and they wanted to bring me down; you came and rescued me again. I come to thank you for every time you have rescued me and thank God because I have the most handsome bosses in the world. You guys”
Josué started on bass. Fucked up but happy, she had David Almengod’s self-invitation.
Buika sang Teatro, by Tite Curet Alonso. The bass makes the harmony. Public choir. Then the trombone and the very slow cajon. And her voice very Lupe, but buikiada.
“Look how the weather is, that we are reaching the end,” he warns.
“I feel very good here and I don’t want to leave.”
Santa Lucía is sung, a song I listened to as a child.
“Give me another date/ let’s go to the park…” he should have asked a tone higher. She was feeling very low. “My beloved, Saint Lucia.”
“She dedicated it to all the forgivers who, like her, know how to love: My girl Lola.” And then I deserve it.
Ñapa: Since you left, someone wanted to occupy my poor heart… I don’t know why and he forgives you. There above the applause, she began a cappella. «And your eyes were two green stars of May for me». From Conchita Piquer «Little green eyes».
The people applauded to the point of delirium. María Elena Gratereaux, confessed to me that for her it has also been the best of the concerts at the festival that turns 25 next year.
Bonyé turned on
Bonyé turned on because it conveys the warmth of the family, that feeling that there are still giant pockets where good taste, good music and genuine performers live.
Bonyé lit up because after a concert as wonderful, intense, energetic and warm as Buika’s, people started that other playful part that is dancing.
This is how they started with Caña brava, then Carmen, in homage to Félix del Rosario, followed by Los saxofones, Bilongo, El Guardia del Arsenal, by Luis Díaz; The photo, Yesterday I called you; The fourth from Tula, composed by Arsenio Rodríguez; Rattlesnake, due to the proximity of Christmas; Prepare a candle, by Compay Segundo; Save her and The African, by Wilfrido Vargas.
What was interesting was how the public made the transition, from a concert to listen, to another to dance. A wonderful farewell.
