Porto – Mondo Bizarre Magazine

February 6, 2025February 8, 2025 Mondo Bizarre Magazine Concert Reviews, Concerts

Calexico Trio,Casa da Música, Porto, 04.02.2025

Spring Came Earlier

words: Paulo Carmona (edited by Raquel Pinheiro); photos: Sara Oliveira

Spring came earlier. It was not announced. It arrived and that was it.

How good it was to be at Casa da Música, in the immense filled Suggia room to savour Calexico. If there is a band that can transmit the warmth, sun, and swing of a spring night, even from within a room, in the middle of winter, it’s Calexico. Joy and well-being was a constant throughout the concert. Joey Burns was at his best, and the result was a perfect interaction between band and audience. Believe it or not, there was dialogue and direct translation mode singing during My Love Don’t Leave Me Now. It was cute and very funny to watch.

The band created and conceived by Joey Burns and John Convertino, came with Martin Wenk – trumpet, guitar, vocals, occasionally harmonica, an excellent multi-instrumentalist musician, super competent and very relaxed. As for Joey & John, is it even worthy mentioning? Everything that comes from them is always magical and infinitely majestic. A symbiosis, a synergy of talents.

Calexico opened with Don Quixote and Gypsi’s Curse, Epic and Glimpse and went around through alleys and melodic paths where styles ranging from folk to rock’n’roll intersect.Joey Burns continues to be an affable and friendly communicator. A born and very experienced entertainer. As always accompanied by his folk guitar called Amália Rodrigues.

Spring came earlier.

November 19, 2024November 21, 2024 Mondo Bizarre Magazine Concert Reviews, Concerts

Temples, Hard Club, Porto, 14.11.2024.

Lost in translation. Definitely.

words: Paulo Carmona (edited by Raquel Pinheiro); photos Telma Mota

Temples are a band of dreams. The magic feeling is constant throughout the band’s performance. Atmospherically very rich and diverse in the structure of their songs, they take us to rest in meadows that stretch far as the eye can see. An immensity of nostalgia and divine emotions that, in fact, can only be reached in temples of sound in which music is the supreme divinity.

You almost feel a cool breeze on your skin that gives you goose bumps, a constant throughout the concert. In Move With the Seasons I almost levitated, in The Guesser I dreamt and in Fragment’s Light I almost cried. What more could I ask for?

As the songs flowed, bodies moved to the rhythm of the band’s sound, applause was effusive and appropriate for the marvellous setting. The band felt that the audience was with them and James Bagshaw, the band’s singer, ended up saying that this was thee crowd of the tour. I bet it was.

I dare say that Temples are one of the best bands of the last 20 years, for its originality and musical creativity, and that Sun Structures is a masterpiece of musical art.Outside, the city is perfectly suited to what was experienced and witnessed indoors. Perhaps because its the city of temples. I still feel it all very much alive and present in me. Thank you, James, Tom, Adam and Rens. Don’t make us wait another 10 years for your return to Portugal and, in particular, to Porto.

November 12, 2024November 16, 2024 Mondo Bizarre Magazine Concert Reviews, Concerts

Whispering Sons, Hard Club,Porto, 08.11.2024.

words: Paulo Carmona (edited by Raquel Pinheiro); photos: Telma Mota

The preamble serves to highlight the aesthetic evolution of the band at all levels. Whispering Sons developed well and got a place in their type of European rock.

The band is instrumentally cohesive with a very remarkable and secure well-structured rhythm section. The symbiosis between bass and drums works perfectly. In the melodic section, the guitar delivers sharp, strident and melodic riffs and knows how to respect the silences and dynamics that characterize the songs of Whispering Sons. The keyboards work as a safe network in a nostalgic tone that gives all that fog, at times thick, at times soft, sailing between chilling breezes. Up there, on the trapeze, Fenne Kuppens’ voice, dense, semi-hoarse, deep and disturbing makes the difference and imprints the stamp that characterizes the Belgian quintet.

Whispering Sons’ performance at Hard club presented a growing and coherent setlist starting with Balm, Something Good and Surface, moving on to Walking, Flying and Try Me Again. It was a concert in crescendo that left everyone, myself included, satisfied. The Great Calm, the band’s largest record is to be heard from beginning to end. And it was with a feeling similar to the album title that I set out on my way home.

September 24, 2024September 24, 2024 Mondo Bizarre Magazine Concert Reviews, Concerts, Festivals, Uncategorized

Winten & Maple Glider, Socorro, Porto, 20.09.2024. | Piquenique Dançante Sobre a Relva, Parque de São Roque, Porto, 22.09.2024.

words, photos & videos: Raquel Pinheiro

Walking blind into concerts is something I enjoy a lot. I was neither familiar with Winten or Maple Glider songs. My reason to go to their respective concerts at Socorro was to meet a old friend I hadn’t seen in over a decade.

Winted © Raquel Pinheiro

I was pleasantly surprised with Winten and Maple Glider gentle songs and music. Winten more inclined towards heartbreak and love sceneries and scenario in a frail, tone; Maple Glider, although not dissimilar, has a more sober and mature tone.

Maple Glider © Raquel Pinheiro

Piquenique Dançante Sobre a Relva © Raquel Pinheiro

Piquenique Dançante Sobre a Relva (Dancing Picnic on the Lawn) is an event held yearly at a park or garden in Porto. This year it was near by me at the wonderful Parque de São Roque on Saturday 21 and Sunday 22 September.

I only attended on Sunday. It was the first time I went to Parque de São Roque dressed up. And it was joyous and fun. Lots of people on the lawn and labyrinth area, seated on blankets, kids running and playing around – the monitors turned to the audience provided a great racing and dancing track for children that were freely allowed to run upon them. Since I also stood on them during Wolf Manhattan, I can attest it’s great fun.

It was great to see friends, acquaintances, so many new faces and watch friends playing.

West 11 © Raquel Pinheiro

West 11 share Phil King (guitar) and Mark Kingston (bass with) Population 5 and have Beth Hirsch on vocals. They are, or were in this instance, a serene band. Heavily contrasting with the raucous, electric in every sense, groovy surfy Population 5. Children played a part again when a very young guitarist with his toy guitar took to the stage having Phil and Fernando Barbedo (Population 5’s other guitarist) as his wing men.

Population 5 © Raquel Pinheiro

Wolf Manhattan are João Viera’s latest incantation. The sad, happy story of a singer-songwriter, lonely in his bedroom that takes his show on the road, accompanied with several eye catching guitars, hair colour and clothes. Cool songs, entertaining atmosphere.

Wolf Manhattan © Raquel Pinheiro

Between bands André Rio played cover on a small stage on the middle of the lawn’s fountain, leading to a sing-a-long.

André Rio © Raquel Pinheiro

I didn’t stay to see Irmãos Catita. Home and my guitar were calling.

September 20, 2024September 30, 2024 Mondo Bizarre Magazine Concerts, Entries, Essays

Grupo Operário do Ruído, Open Rehearsal, Associação de Moradores da Bouça, Porto, 13.09.2024.

A View From Within

words: Raquel Pinheiro; photos: Renato Cruz Santos/Cultura em Expansão

A week ago me and my colleagues from Grupo Operário do Ruído, a parte experimental-exploratory-avant ensemble connect to Sonoscopia were in the depths of our Open Rehearsal, after months of hours long reharsals.

Being part of the group has been a very interesting experience. I elected the electric guitar as my main instrument, in itself a challenge. I’m far more familiar with an electric bass than with an electric guitar. Most of my other instruments are as peculiar and unique as Grupo Operário do Ruído: a couple of plastic beads necklaces, a children’s melodica, mismatched drum sticks, empty spices bottles, and more, and our claribones, what I call our odd purpose build mix of trombone and clarinet.

Many instruments we use were build on previous years of the existence of Grupo Operário do Ruído, some like my guitar, the traditional drums, the tambourine are convencional. My use of the electric guitar is anything but convencional. We’re often asked what we do, what we play. We’re still working on the musical piece directed by António Serginho and Carlos Guerreiro, to which we all contribute.

I would say we’re much close to an orchestra than a rock band. The musical, sound, and other approaches are wide. As you can see on the photos we do not use staves. There are structured rhythm parts, solo and free style parts, corporal movement, a bit of singing. Each of us, one more than others depending of what we play, swap our instruments, according to the section we’re playing.

None of the above explains much other than a little of the mechanics of this year in Grupo Operário do Ruído. It’s not easy to explain as it is a sound experience composed of a million details.

I’ve been asked if I felt nervous playing in front of an audience. I didn’t. I didn’t even notice the audience that surrounded us. We’re concentrated on what we’re playing as well as in the hand instructions of António Serginho tailor made for us, and therefore different than standard conductor instructions.

No, I’m not letting our music out. 😉 Not right now. 🙂 We sound brilliant!

We have our Final Presentation at Conservatório de Música do Porto, December 8, 7pm. Come see us!

September 10, 2024September 19, 2024 Mondo Bizarre Magazine Entries

GOR – Grupo Operário do Ruído Open Reharsal, Friday September 13

Come and see me and my colleagues from GOR – Grupo Operário do Ruído – a large experimental-exploratory-avant ensemble – on our Open Reharsal, Friday, 13 at Associação de Moradores da Bouça in Porto, 9:30pm. Entry is free (2 tickets per person, at the door, from 8:30pm).

I’ll be on electric guitar, prepared, bass like or otherwise, and, most likely, on a few peculiar instruments too.

May 2, 2024May 2, 2024 Mondo Bizarre Magazine Concert Reviews, Concerts

Lloyd Cole, Casa da Música, Porto, 28.04.2024.

words: Paulo Carmona freely translated by Raquel Pinheiro); photos: Paulo Carmona

Lloyd Cole is one of those unique cases in which a man, a guitar and his voice manage to give an whole concert in which the audience does not fall into a dragged sleepleness apathy like. There are several factors for that: The first one is the voice to be in shape in the highs and lows and the knowledge of using breathing to achieve what is intended.

Another factor to have in consideration is the compentency is the playing of the electro-acoustic guitar. The rhythms, the freestyle, the intensity, the silences and the arpeggios. All very well played and pertinent to the flow of the songs. And the songs, of course.

When a song is well written, well harmonized and has a poem that tailor suits it because it is felt, loved and conceived since it naturally; with guitar and voice, or orchestra it will always be a great song. That was what, once more, Lloyd Cole offered us. Always nice and afectous, supported by is British humour, including about mid concert pause, explaining it is mandatory for guys his age, he was an excellent entertainer from beginning to end.

The menu included more introspective songs such as Like Lovers Do, My Other Life, 2 CV, Today I’m Not So Sure, The Afterlife, The Idiot, Butterfly and more iconic and uplifted songs like Are You Ready To Be Heartbroken, Jennifer She Said, Brand New Friend, Perfect Skin and Undressed. On the much demanded and thanked encore Lost Weekend and Forest Fire were played.

On my way home, on the aftermath, I was thinking a cup of hot tea and sweet, sweet biscuits would be right the thing.

April 26, 2024 Mondo Bizarre Magazine Concert Reviews, Concerts

Kristin Hersh, Auditório Francisco de Assis, Porto, 21.04.2024.

words: Neno Costa (freely translated by Raquel Pinheiro); photos: Telma Mota

The tracery of Sparky (Hips and Makers, 1994) filled the wideness of the stage until Kristin Hersh’s voice filled the room with Eyeshine (Clear Pound Road, 2023) casting out ghosts that seemed to threaten Throwing Muses’muse at every turn.

Lady of lyrics tinted by experience and personal conflicts, braided with a pop folk sound under a harsh vocal sky Kristin Hersh and her acoustic guitar run through thirty years of career, including her time with Throwing Muses, in an intimate, mature, flowing performance in choices such as Your Ghost (Hips and Makers, 1994), Kay Catherine (Throwing Muses, 2020), Your Dirty Answer (Sonny Border Blue, 2001) or Ms Haha from her latest album.

It would have been wonderful to prolong this golden moment of the musical calendary, electrically wrapped with The Cuckoo (Hips and Makers, 1994) and English folk song open to interpretations, cladled as a goodbye.

April 9, 2024April 12, 2024 Mondo Bizarre Magazine Concerts

BDRMM, Mouco, Porto, 06.04.2024.

words: Marcos Leal (freely translated by Raquel Pinheiro); photos: Marcos Leal.

Hull band Bdrmm awaited first concert in Porto finally happened. Bdrmm came to download their electric showgaze mantle upon an audience split between a sound delight and happy talk.It was remarkable the way the band was applauded and cherished by the audience, leaving the quarter rather pleased, and, in a way, apparently surprised with such reaction, multiplying thanks you at each song. For about one and a half hour Bdrmm downloaded a stream of songs that satisfied the wishes of their fans, starting with Alps, carrying on with Be Careful.

Then, melodically loud with songs like Gush, Push/Pull, Happy, one of their greatest hits, here almost unrecognisable among a deluge of distortion, until, at, last, arriving at a good Port, um thrilling cheering by from the audience and thanks by Bdrmm.

March 19, 2024September 3, 2024 Mondo Bizarre Magazine Concert Reviews, Concerts

F.M. Einheit – Associação de Moradores da Bouça, Porto, 15.03.2024.

The Club Meets the Drill

words: Raquel Pinheiro; photos: Renato Cruz Santos/Cultura em Expansão We are at one of those places most would not associate with industrial music, Associação de Moradores da Bouça, a local residents society, founded in 1975. Through Porto’s City Hall programme Cultura em Expansão, Associação de Moradores da Bouça has been helding events, like diferent sorts of concerts, including more fringe ones.

There are too many of us gathered in the patio outside the concert room. Which goes to show that fringes can be relative. F.M. Einheit became known to if not all, most of us in attendance, when he was part of Einstürzende Neubauten, that he left in 1995.

The planned seated concert is turned into a stand up one in order for everyone to be able to attend. That changes things a little or the audience. In chairs, we would easily be able to see the images of the projections that accompanied F.M. Einheit’s demolitions, cracking, pouring of materials, playing a gigantic spring with a drill.

The video projections come with background sounds and beats. A mix of clubbing grooves, voices, mechanical, machinery noises. From where I stand for most of the concert, by the door and the mixing desk, it is not easy to see the images or, other than the playing of spring & drill, what is F.M.’s up to. I can hear sounds and see a glimpse of what looks like a workbench with a few things upon it. Wood plaques? Bricks? And what is FM pouring from a big bucket? Gravel? Whatever it is, it makes for an harrowing sound.

The evening will keep being filled with contrasts, dissonances, resonances, peculiar noises. And thee drill!

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