Met dank aan Ian, die net als ik, zaait op DIME !
Gotan Project live at Amsterdam Melkweg (Rabozaal), The Netherlands, 4th March 2011 (2011-03-04).
RECORDING: Type: Audience (master), recorded front of house, 5 metres back from the ceiling-mounted left PA stack.
Source: 2 x DPA 4060 mics -> DPA MMA6000 amplifier (100 Hz low-cut filter) -> Edirol R-09HR recorder (44.1 kHz/16 bit WAV)
Lineage: Audacity 1.3.12-beta (tracks split, fades added -> FLAC (compression level 8 ) [libFLAC 1.2.1 20070917]
01. Cuesta Abajo
04. Tango Square
06. Una Música Brutal
07. De Hombre A Hombre
08. Todo Mi Vida
09. Mi Confesión
10. La Gloria
12. La Música De Siempre
13. El Mensajero
15. [encore break]
16. Mil Millones/Queremos Paz
19. Santa María (Del Buen Ayre)
20. [encore break]
Let’s get one thing straight from the start: Gotan Project are amazing live.
Please, just pick your own superlative. All of the adjectives that I can think
of are trite and inadequate for describing last night’s performance.
This may have cost EUR 36,50 (+ the Melkweg’s usual bogus membership fee) to
get into, which is about 3x what I pay to see most of the bands I go to and
4x the cost of some of them, but Gotan Project put on a show to match.
I’m not sure why the band were back in Amsterdam on the ‘Tango 3.0′ tour. They
played the Paradiso in May 2010 and tonight’s set differed from that show’s
only in the omission of ‘Tu Misterio’. Perhaps they had returned because the
Paradiso gig had sold out so quickly. This one, on the other hand, wasn’t sold
out, although glancing around just as things were about to get under way, it
must have come pretty close.
We might have lost a song from the set, but the sound in the Rabozaal last
night was nothing short of superb, a fact that comes thumping through in the
recording. This one will be getting a lot of play on the family’s Sonos system
for the foreseeable future.
A few of the ‘Tango 3.0′ songs had been unfamilar to me when I saw the band at
the Paradiso last year. This is because they had chosen to release some of the
songs only on the vinyl edition of the album.
Happily, that situation has since been remedied with the deluxe cash-in CD
version of the album, which is highly recommended, especially if it doesn’t
force you into buying a second copy of the album.
Gotan Project’s electro-tango groove is simply irresistible. From the music to
the suits and cocktail dresses worn on stage, the overwhelming impression is
one of authenticity, as if this nuevo-ballroom style were as established and
ubiquitous as the traditional interpretation.
Claudia Pannone’s sultry vocals leave you torn between staying to enjoy the
rest of the show and rushing out to the nearest travel-agent to book a one-way
ticket to Buenos Aires.
Facundo Torres’ virtuoso bandoneón playing, on the other hand, succeeds in
achieving something I had hitherto thought impossible: making the accordion a
Yes, to those of us who still think of Tango as a sickly-sweet fizzy drink
that rots your teeth, Gotan Project offer the impossible allure of a thousand
in-flight magazine reviews of downtown Buenos Aires.
We look at the suave sophistication of these perfect lovers, their effortless
style, the juxtaposition of starkly defined gender roles, and we are all too
aware of being pasty-faced Northern Europeans with no sense of rhythm. Well, I
am, at least.
If you want to close your eyes, drift to South America on a current of
rarified Latin rhythms and dream away the next hour and a half, you could do
worse than to download this gig.
As usual, the recording has not been played with to artificially enhance it.
The sound is genuinely excellent and surpasses even my usual high standard.