I Went To See A Band...
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After six months in the USA, we returned to Buenos Aires, and the next day, went to see Orquestra Hypnofon.
Hypnofon was created in 2001 to support Gustavo Cerati with strings for an album of symphonic compositions, and it has been the big band of Alejandro Terán, in many incarnations, ever since. The players change with time, but Terán revives it again and again. It is a flexible tool for Terán.
We managed to get second row center tickets online from the US, so we had excellent seats in the classic Teatro Coliseo, a lovely 60's modernist theater.
Its the kind of place where most of the audience feels a responsiblity to get dressed up to attend, so I wore my sharkskin suit.
The curtain rises to the band, 23 members plus Terán conducting.
Ten assorted strings, piano, bass, harp, 3 percussionists, a five piece horn section, and, of course, the great Manu Schaller on theremin, and Sebastian Schactel on electronic keyboards.
The crew included a video artist, sound and lights, a recording crew and a few video cameras- this was too big of an ensemble to play multiple nights, so they carefully recorded it for streaming.
The band was somewhere between a broadway orchestra, a big band, and the backing band for pop stars- the musicians are some of the best available in their respective instruments, and the accumulated lifetime experience on stage was staggering- this is a band that can make anything sound good.
The format was that each of the nine guest vocalists got two songs.
It was a classic revue style show, but the band and arrangements was all Terán, and Terán is totally in his element arranging and conducting bands like this.
The selection of guest vocalists was pretty wide ranging- young Argentine musicians, ranging from cabaret to hip hop to rock to what they call here “trap”, basically pop music.
Some I liked a lot, others I was lukewarm about, but every song was interesting, and the quality of musicianship was uniformly high, so the whole concert was great.
Terán can play an orchestra like a rock band, writing the music, choosing the musicians, and conducting atheletically.
I am a huge fan, and I have seen him in many different situations over the years, from a small string quartet, to a sideman in other bands, to collaborating with equals, and in versions of his big band adventures. I once saw him dressed as a cartoon satyr in 4” platform boots, playing rock on a keytar...
He has his own idea of what Classical Music of the future sounds like, and he makes it happen.
(I cannot omit mentioning his partner, Lady Maria Gonzales, who styles and creates the production, including the costumes. She has an eye like none other, and nothing you see is casual or accidental- every garment was thought about.)
The entire concert is here-
Hypnofon was created in 2001 to support Gustavo Cerati with strings for an album of symphonic compositions, and it has been the big band of Alejandro Terán, in many incarnations, ever since. The players change with time, but Terán revives it again and again. It is a flexible tool for Terán.
We managed to get second row center tickets online from the US, so we had excellent seats in the classic Teatro Coliseo, a lovely 60's modernist theater.
Its the kind of place where most of the audience feels a responsiblity to get dressed up to attend, so I wore my sharkskin suit.
The curtain rises to the band, 23 members plus Terán conducting.
Ten assorted strings, piano, bass, harp, 3 percussionists, a five piece horn section, and, of course, the great Manu Schaller on theremin, and Sebastian Schactel on electronic keyboards.
The crew included a video artist, sound and lights, a recording crew and a few video cameras- this was too big of an ensemble to play multiple nights, so they carefully recorded it for streaming.
The band was somewhere between a broadway orchestra, a big band, and the backing band for pop stars- the musicians are some of the best available in their respective instruments, and the accumulated lifetime experience on stage was staggering- this is a band that can make anything sound good.
The format was that each of the nine guest vocalists got two songs.
It was a classic revue style show, but the band and arrangements was all Terán, and Terán is totally in his element arranging and conducting bands like this.
The selection of guest vocalists was pretty wide ranging- young Argentine musicians, ranging from cabaret to hip hop to rock to what they call here “trap”, basically pop music.
Some I liked a lot, others I was lukewarm about, but every song was interesting, and the quality of musicianship was uniformly high, so the whole concert was great.
Terán can play an orchestra like a rock band, writing the music, choosing the musicians, and conducting atheletically.
I am a huge fan, and I have seen him in many different situations over the years, from a small string quartet, to a sideman in other bands, to collaborating with equals, and in versions of his big band adventures. I once saw him dressed as a cartoon satyr in 4” platform boots, playing rock on a keytar...
He has his own idea of what Classical Music of the future sounds like, and he makes it happen.
(I cannot omit mentioning his partner, Lady Maria Gonzales, who styles and creates the production, including the costumes. She has an eye like none other, and nothing you see is casual or accidental- every garment was thought about.)
The entire concert is here-
Ries
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Trying to catch up on my concerts.
A couple of weeks ago, we were lucky to snag tickets to Juana Molina at Artlab Pro in Villa Crespo. It was a night of improvisation, just her and Odin Schwartz, a longtime collaborator of hers. A relatively small venue, perhaps 200-300 people, and she can sell out a couple of thousand seat theater right away in Buenos Aires.
She began by asking for John Cage style cues from the audience, numbers or letters, which she then used corresponding presets on loops or synthesizer settings, to add randomness.
None of her well known songs, everything was an ongoing conversation between the two, sometimes more ambient, sometimes with her trademark layering of vocal loops, but more abstract and unplanned than her normally quite controlled performances.
I have seen Juana many times in the last dozen years, and this was a very good night- loose and energetic.
There isnt any official video I have seen, although the whole thing was definitely recorded and filmed, but here is a snippet of a crowd sourced vid.
A couple of weeks ago, we were lucky to snag tickets to Juana Molina at Artlab Pro in Villa Crespo. It was a night of improvisation, just her and Odin Schwartz, a longtime collaborator of hers. A relatively small venue, perhaps 200-300 people, and she can sell out a couple of thousand seat theater right away in Buenos Aires.
She began by asking for John Cage style cues from the audience, numbers or letters, which she then used corresponding presets on loops or synthesizer settings, to add randomness.
None of her well known songs, everything was an ongoing conversation between the two, sometimes more ambient, sometimes with her trademark layering of vocal loops, but more abstract and unplanned than her normally quite controlled performances.
I have seen Juana many times in the last dozen years, and this was a very good night- loose and energetic.
There isnt any official video I have seen, although the whole thing was definitely recorded and filmed, but here is a snippet of a crowd sourced vid.
Ries
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I have been going out less, and working more, lately, but I have seen a few shows. I went to see Axel Krygier at the new Camping.
I have written a lot about Axel, I think hes great. He was doing a solo show, basically remixing himself, sampling, singing and rearranging songs from his last album.
But it was the first time I had been to Camping since they moved.
They used to be on the grass outside fo the BA Design mall, which is a strange commercial space shoehorned underneath the Cultural Center Recoleta, adjoining Parque Alvear. During the pandemic, the Mall closed, leaving only one passaje that went from CCR to the Hard Rock Cafe. Camping moved to the grounds of MARQ- Museo de Arquitectura y Diseño de la Sociedad Central de Arquitectos .
The museum is located in an old railroad switching tower, next to the tracks going in to Retiro station, basically at the corner of Libertador and Callao. Its a quirky building, kind of like a medieval airport control tower. When it was remodeled into a museum, they built a modern Pavillion down below, with restrooms and some exhibition space.
Camping rents the grounds, and uses a small space in the pavillion for a tiny kitchen, as well as the restrooms. It has one area with picnic tables, under trees, and, on the other side, a stage and an outdoor courtyard dance floor. Its a great place to see music on hot summer, or even warm spring, nights. good sound, a variety of spaces for dancing, sitting, or eating, a small basic menu, a couple of tiny bars, and no neighbors.
I will be back there, for sure, depending on who is playing.
They feature a lot of modern rock, indie pop, and post punk bands, some electronic dance music, and some oddball things too.
www.modernabuenosaires.org
I have written a lot about Axel, I think hes great. He was doing a solo show, basically remixing himself, sampling, singing and rearranging songs from his last album.
But it was the first time I had been to Camping since they moved.
They used to be on the grass outside fo the BA Design mall, which is a strange commercial space shoehorned underneath the Cultural Center Recoleta, adjoining Parque Alvear. During the pandemic, the Mall closed, leaving only one passaje that went from CCR to the Hard Rock Cafe. Camping moved to the grounds of MARQ- Museo de Arquitectura y Diseño de la Sociedad Central de Arquitectos .
The museum is located in an old railroad switching tower, next to the tracks going in to Retiro station, basically at the corner of Libertador and Callao. Its a quirky building, kind of like a medieval airport control tower. When it was remodeled into a museum, they built a modern Pavillion down below, with restrooms and some exhibition space.
Camping rents the grounds, and uses a small space in the pavillion for a tiny kitchen, as well as the restrooms. It has one area with picnic tables, under trees, and, on the other side, a stage and an outdoor courtyard dance floor. Its a great place to see music on hot summer, or even warm spring, nights. good sound, a variety of spaces for dancing, sitting, or eating, a small basic menu, a couple of tiny bars, and no neighbors.
I will be back there, for sure, depending on who is playing.
They feature a lot of modern rock, indie pop, and post punk bands, some electronic dance music, and some oddball things too.
MARQ-Museo de Arquitectura y Diseño de la Sociedad Central de Arquitectos
Programa de difusión de la Arquitectura Moderna
www.modernabuenosaires.org
Ries
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Saturday was Pride/Orgullo. It was a funny day for it- same day as the Boca/Brazil game, and the Taylor Swift Concert. So my guess is it wasnt the 1.2 million people who attended in 2022.
But it was still huge, crazy, fun, and great people watching.
We always go early, because my days of drinking, drugging and dancing to 6am are long gone.
I like checking out the crowd, seeing some music on the main stage, and looking at all the floats, vendors, and street food.
We have a bunch of friends associated with LOCA, which is a dance party that occurs a few times a year in different places, and which always has one of the best carrozas in pride. Some friends of ours were DJ'ing a set on the carroza early, because the pride parade was moved very early, in case Boca won, and the futbol crowds would gather at the obelisco, as they do.
Usually the parade doesnt go up to Congresso until 7 or 8 at night, but they were planning on starting at 3 this time.
So we caught a great set of Tina Turner songs, thru a gigantic and very good sound system, on Diagonal Sur right in front of the Roca statue. dozens of people dancing at one in the afternoon, and I have no doubt many were still dancing at one in the morning.
Then we went to the main stage to catch Lucy Patané and band playing at about 2.
She was going all in on hard rock today, with a 5 piece band, which, for her, is small. She is a musical chameleon, who can play any string instrument (and a few more that dont have strings) in pretty much any style, but today she was in full Jimi Hendrix telecaster wall of sound. Aided and abetted by her incredible sax player, Mene Savasta, and Carola Zelaschi on drums, who is an amazing drummer, powerful and smooth.
The crowd was rocking, the big screen had ten foot tall closeups of guitar solos, and vendores walked thru the crowd selling cold beers and magico brownies. Free, outside, and it was beautiful day. I can only find small phone videos on instagram of this, but it was great. It was clear that Lucy chose to do a rock set, because she knew that she was going to be playing a very different style that night.
Later in the evening, Lucy expanded her band and played at the main stage in front of Congress with movie star Natalia Oreiro, trading her jeans for glitter and glam. Oreiro is a huge star, and her show is much more mainstream pop, but Lucy has been a backing musician for her on tours for years, and, I believe, her musical director. For this show, Lucy was relatively subdued in shades and a big red beret, while Oreiro was feathers and metallic pants.
Here is that later show-https://youtu.be/QdopT2TTGaA?feature=shared
But it was still huge, crazy, fun, and great people watching.
We always go early, because my days of drinking, drugging and dancing to 6am are long gone.
I like checking out the crowd, seeing some music on the main stage, and looking at all the floats, vendors, and street food.
We have a bunch of friends associated with LOCA, which is a dance party that occurs a few times a year in different places, and which always has one of the best carrozas in pride. Some friends of ours were DJ'ing a set on the carroza early, because the pride parade was moved very early, in case Boca won, and the futbol crowds would gather at the obelisco, as they do.
Usually the parade doesnt go up to Congresso until 7 or 8 at night, but they were planning on starting at 3 this time.
So we caught a great set of Tina Turner songs, thru a gigantic and very good sound system, on Diagonal Sur right in front of the Roca statue. dozens of people dancing at one in the afternoon, and I have no doubt many were still dancing at one in the morning.
Then we went to the main stage to catch Lucy Patané and band playing at about 2.
She was going all in on hard rock today, with a 5 piece band, which, for her, is small. She is a musical chameleon, who can play any string instrument (and a few more that dont have strings) in pretty much any style, but today she was in full Jimi Hendrix telecaster wall of sound. Aided and abetted by her incredible sax player, Mene Savasta, and Carola Zelaschi on drums, who is an amazing drummer, powerful and smooth.
The crowd was rocking, the big screen had ten foot tall closeups of guitar solos, and vendores walked thru the crowd selling cold beers and magico brownies. Free, outside, and it was beautiful day. I can only find small phone videos on instagram of this, but it was great. It was clear that Lucy chose to do a rock set, because she knew that she was going to be playing a very different style that night.
Later in the evening, Lucy expanded her band and played at the main stage in front of Congress with movie star Natalia Oreiro, trading her jeans for glitter and glam. Oreiro is a huge star, and her show is much more mainstream pop, but Lucy has been a backing musician for her on tours for years, and, I believe, her musical director. For this show, Lucy was relatively subdued in shades and a big red beret, while Oreiro was feathers and metallic pants.
Here is that later show-https://youtu.be/QdopT2TTGaA?feature=shared
Ries
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Los Brujos was an essential band in Argentina in the 90s.
Then, they went dormant for more than15 years.
They reunited, adapted to the new millenium, in 2014.
Ever since 2014, I have been meaning to go see them live, but every time I had an opportunity, I had some reason to miss them.
Unfortunately, in 2016, Ricky Rua, one of the two lead singers, died.
This made me even sadder I had missed seeing them live.
So when the opportunity arose inOctober, I jumped on it. They were playing at Artlab Pro, a nice place to see a band- small enough to get up close, big enough to have interesting bands, with great sound, lights, and, a rarity, ventilation. Even when they turn on the ubiquitous fog machine, you can still breathe.
Minus Ricky, they are not as powerful,but it was still an amazing night.
Argentina had almost ten years of military dictatorship from 76 to 83, during which time bands and music were restricted, arrested, and even thrown out of airplanes into the Atlantic.
As a result, starting in the late 80s, Argentine bands digested and interpreted a whole decades worth of musical influences all at once, so there was an explosion of bands,concerts, and record sales, and many of the bands were mixing various historical genres with reckless abandon.
Los Brujos were rock, punk, grunge, and weird all at once- a compression of varied ideas that came out in a frenzied explosion.
They were non-commercial, not trying to please, and from the very start, were highly influenced by and enhanced by the incredible design sense of Vero Ivaldi, Rua's wife, fashion designer and professor of indumentaria, who designed allt heir costumes and many early stage elements.
She is the unsung 7th memberof the band.
They had dozens of looks, each different, all wild and unlike other bands.
The first three albums were very different from what more mainstream Rock Nacional bands were doing, and live, they were unexpected and crazy.
They were cute and sexy cavemen, ala Chili Peppers, at the same time the Chili Peppers were, but they were always, like all Argentines, more put together.
They were witches and skeletons and aliens and demons, better dressed monsters than Gwar, straight from DR Seuss acid trips, or a dozen other looks that you cant even begin to describe.
But thru it all, the twin guitars weresynced and fierce, the drummer never missed a beat, and no amount ofstage antics messed up their timing.
Their first album, produced by guru Daniel Melero, was almost all first takes recorded live, as they had so much energy pent up that no overdubs or overthinking was required.
The second coming, in 2014, was more considered, and the musicianship shines more in tight, short, pointed songwriting. Age and focus, along with years of practice. Most of them had been in a few more bands in between, honing their chops.
A bit of Surf, Garage, and early punk, less psychedelic mess. I like both eras equally.
At this point, they are all in their 50s, but their energy level and pacing means that they still get the audience pogoing.
The crowd was a typically argentine mix, with graying middleaged original fans next to tiny 20 somethings elegantly dressed in high fashion, plus some goths, hippies, and lots of nerdy musicians of all ages.
They played a mix of older songs along with lots from their comeback album, Pong!
I am really glad I got to see them.
Sure, I wish I had seen them in 1991,or even in 2014, but better late than never.
Here is their original "hit", Kanishka, in a vid from the early 90s. Rumor has it that Nirvana stole the melody because they liked the song so much (Los Brujos opened for Nirvana on their sole Argentine tour).
I particularly like Ivaldi's achievement of getting both lead singers to wear one sweater.
Then, they went dormant for more than15 years.
They reunited, adapted to the new millenium, in 2014.
Ever since 2014, I have been meaning to go see them live, but every time I had an opportunity, I had some reason to miss them.
Unfortunately, in 2016, Ricky Rua, one of the two lead singers, died.
This made me even sadder I had missed seeing them live.
So when the opportunity arose inOctober, I jumped on it. They were playing at Artlab Pro, a nice place to see a band- small enough to get up close, big enough to have interesting bands, with great sound, lights, and, a rarity, ventilation. Even when they turn on the ubiquitous fog machine, you can still breathe.
Minus Ricky, they are not as powerful,but it was still an amazing night.
Argentina had almost ten years of military dictatorship from 76 to 83, during which time bands and music were restricted, arrested, and even thrown out of airplanes into the Atlantic.
As a result, starting in the late 80s, Argentine bands digested and interpreted a whole decades worth of musical influences all at once, so there was an explosion of bands,concerts, and record sales, and many of the bands were mixing various historical genres with reckless abandon.
Los Brujos were rock, punk, grunge, and weird all at once- a compression of varied ideas that came out in a frenzied explosion.
They were non-commercial, not trying to please, and from the very start, were highly influenced by and enhanced by the incredible design sense of Vero Ivaldi, Rua's wife, fashion designer and professor of indumentaria, who designed allt heir costumes and many early stage elements.
She is the unsung 7th memberof the band.
They had dozens of looks, each different, all wild and unlike other bands.
The first three albums were very different from what more mainstream Rock Nacional bands were doing, and live, they were unexpected and crazy.
They were cute and sexy cavemen, ala Chili Peppers, at the same time the Chili Peppers were, but they were always, like all Argentines, more put together.
They were witches and skeletons and aliens and demons, better dressed monsters than Gwar, straight from DR Seuss acid trips, or a dozen other looks that you cant even begin to describe.
But thru it all, the twin guitars weresynced and fierce, the drummer never missed a beat, and no amount ofstage antics messed up their timing.
Their first album, produced by guru Daniel Melero, was almost all first takes recorded live, as they had so much energy pent up that no overdubs or overthinking was required.
The second coming, in 2014, was more considered, and the musicianship shines more in tight, short, pointed songwriting. Age and focus, along with years of practice. Most of them had been in a few more bands in between, honing their chops.
A bit of Surf, Garage, and early punk, less psychedelic mess. I like both eras equally.
At this point, they are all in their 50s, but their energy level and pacing means that they still get the audience pogoing.
The crowd was a typically argentine mix, with graying middleaged original fans next to tiny 20 somethings elegantly dressed in high fashion, plus some goths, hippies, and lots of nerdy musicians of all ages.
They played a mix of older songs along with lots from their comeback album, Pong!
I am really glad I got to see them.
Sure, I wish I had seen them in 1991,or even in 2014, but better late than never.
Here is their original "hit", Kanishka, in a vid from the early 90s. Rumor has it that Nirvana stole the melody because they liked the song so much (Los Brujos opened for Nirvana on their sole Argentine tour).
I particularly like Ivaldi's achievement of getting both lead singers to wear one sweater.
Ries
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In October, we went to a house show at Suena Washington, which is a magical place.
Its a private home, where the owner hosts small intimate concerts.
He is a chef and musician himself, and puts on these shows for his own enjoyment and because heloves the music. It is limited to about 50 people, reserved in advance, and its not really publicized- everyone is there very intentionally.
The tacos are really great, too.
There is a small building in the garden, where there are sometimes exhibits of art or craft.
This night was a show of the indumentaria of Francisca Mayol.
That night was Pablo Grinjot, who writes and sings classic Rio Plata folk songs.
He has been around for decades, put out quite a few albums, and his songs are pretty well known.
In the living room, sitting on the carpet, ten feet away, the emotions, politics, and history were very present.
Then, the reason we came- Fernando Kabusacki, guitarist.
Kabusacki went to England in 1988, to track down Robert Fripp and study under him, which he did.
He has been "Big in Japan" for 25 years now at least, travelling there often, and changing his argentine last name to Kabusacki.
He is very popular there, and has a lot of music out on japanese labels.
Here, in Argentina, he has played with everybody- he is a master of both acoustic and electric guitars, and can play in pretty much any style.
He is one of the musicians on the upcoming Charly Garcia album said to be due to be released in 2024.
Solo, he plays guitar thru a myriad of effects, laying down layer after layer of music, weaving a room filling web of sound.
During the pandemia, he recorded an album at home, using drum machines as a subtle base for his guitar improvisations.
This is what he did that night, although the beats were very subtle and appropriate.
While not a singer, he is also layering some looped spoken word.
A highlight of the evening was his19 year old daughter, Uma, who sang on several songs, as well as playing some piano.
They sync instinctively, and have been playing together this year in various formats, from her supporting his ethereal guitar compositions, to a show where he backed her doing a set of Adele covers.
No Adele tonight, though.
It was all soaring guitars that sounded like everything from harps to synthesizers, but mostly, guitar.
I have seen Kabusacki many times, in many different contexts, and he always has a light touch, but plays exactly the right thing at the right time. One of the things he has been doing for 40 years now is improvising music for silent film showings.
Several of those are available as recordings.
And he has a dozen albums out, all different.
This is a song from his new album, featuring a japanese vocalist, which is the kind of music he was playing that night.
Its a private home, where the owner hosts small intimate concerts.
He is a chef and musician himself, and puts on these shows for his own enjoyment and because heloves the music. It is limited to about 50 people, reserved in advance, and its not really publicized- everyone is there very intentionally.
The tacos are really great, too.
There is a small building in the garden, where there are sometimes exhibits of art or craft.
This night was a show of the indumentaria of Francisca Mayol.
That night was Pablo Grinjot, who writes and sings classic Rio Plata folk songs.
He has been around for decades, put out quite a few albums, and his songs are pretty well known.
In the living room, sitting on the carpet, ten feet away, the emotions, politics, and history were very present.
Then, the reason we came- Fernando Kabusacki, guitarist.
Kabusacki went to England in 1988, to track down Robert Fripp and study under him, which he did.
He has been "Big in Japan" for 25 years now at least, travelling there often, and changing his argentine last name to Kabusacki.
He is very popular there, and has a lot of music out on japanese labels.
Here, in Argentina, he has played with everybody- he is a master of both acoustic and electric guitars, and can play in pretty much any style.
He is one of the musicians on the upcoming Charly Garcia album said to be due to be released in 2024.
Solo, he plays guitar thru a myriad of effects, laying down layer after layer of music, weaving a room filling web of sound.
During the pandemia, he recorded an album at home, using drum machines as a subtle base for his guitar improvisations.
This is what he did that night, although the beats were very subtle and appropriate.
While not a singer, he is also layering some looped spoken word.
A highlight of the evening was his19 year old daughter, Uma, who sang on several songs, as well as playing some piano.
They sync instinctively, and have been playing together this year in various formats, from her supporting his ethereal guitar compositions, to a show where he backed her doing a set of Adele covers.
No Adele tonight, though.
It was all soaring guitars that sounded like everything from harps to synthesizers, but mostly, guitar.
I have seen Kabusacki many times, in many different contexts, and he always has a light touch, but plays exactly the right thing at the right time. One of the things he has been doing for 40 years now is improvising music for silent film showings.
Several of those are available as recordings.
And he has a dozen albums out, all different.
This is a song from his new album, featuring a japanese vocalist, which is the kind of music he was playing that night.
Ries
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We went to see Juana Molina for the second time in a month.
This time, a big show in a big venue, where she was performing her “hits”, as well as what I think may be a couple of new songs.
One thing that always amazes me is how many performance spaces there are in BA.
My guess is that there are probably 3 times the amount as any single US city.
This was a cavernous club I had never heard of, Deseo, on Chorroroarin in Villa Ortuzar.
Giant warehouse with wraparound balconies, huge sound system and disco lighting.
4 bars, there were 500 to 800 people there.
Juana was playing with her drummer, Diego Lopez del Arcuate, who is elegant and professional, and knows her repetoire backwards.
Mid show, she came out in her Giant Dress, which is a rolling platform that stagehands push out into the audience.
She is on top, wearing a 10 foot diameter gown, singing thru a wireless mike, her head 15 feet up.
She is like the Good Witch from Wizard of Oz.
I have seen Juana live something like 20 times now, I guess that makes us superfans, but I enjoy it every time.
Evidently she has played at Deseo at least 3 times this year. Nicola Cruz will be playing there in February, I will try to see him there.
Here she is, that night, wearing the Giant Dress. Its Big. Its made out of bubble wrap.
This time, a big show in a big venue, where she was performing her “hits”, as well as what I think may be a couple of new songs.
One thing that always amazes me is how many performance spaces there are in BA.
My guess is that there are probably 3 times the amount as any single US city.
This was a cavernous club I had never heard of, Deseo, on Chorroroarin in Villa Ortuzar.
Giant warehouse with wraparound balconies, huge sound system and disco lighting.
4 bars, there were 500 to 800 people there.
Juana was playing with her drummer, Diego Lopez del Arcuate, who is elegant and professional, and knows her repetoire backwards.
Mid show, she came out in her Giant Dress, which is a rolling platform that stagehands push out into the audience.
She is on top, wearing a 10 foot diameter gown, singing thru a wireless mike, her head 15 feet up.
She is like the Good Witch from Wizard of Oz.
I have seen Juana live something like 20 times now, I guess that makes us superfans, but I enjoy it every time.
Evidently she has played at Deseo at least 3 times this year. Nicola Cruz will be playing there in February, I will try to see him there.
Here she is, that night, wearing the Giant Dress. Its Big. Its made out of bubble wrap.
