MUSIC PREMIERES
Ca7riel & Paco Amoroso are a Latin/hip-hop/multi-genre duo who are superstars in their native Argentina and much of Latin America, but until recently were little known in the U.S. outside the Latin music genre. That began changing first with their NPR Tiny Desk Concert last fall, then with their incendiary appearances at Coachella earlier this month.
The duo’s 2024 debut album, “Baño María,” featured their strong singing and rapping over largely electronic instrumentation, and although their new EP “Papota” has live instrumentation from their band, it does not prepare you for what an explosive and exciting live band it is — and not only because the group brought the same set to New York’s 575-capacity Bowery Ballroom that they played at Coachella and in stadiums on the recently completed Lollapalooza South America tour. On Tuesday night, they practically erupted off of the Bowery stage.
The duo — who have comic, antic stage presence that belies their serious musical chops — are accompanied by nine top-flight musicians: a three-piece horn section, two backing singers, a keyboardist, percussionist, bassist and a powerhouse drummer (who, astonishingly, has a tattoo of the logo for ‘70s progressive rockers Emerson Lake & Palmer on his arm) — while Ca7riel played guitar on several songs.
All of the musicians’ formidable skills are on full display in their live set, which finds them changing direction in a head-spinning but still fluid manner: They’ll be playing a Latin-flavored song and then make a hard left into hip-hop and then serve up a smooth ‘80s R&B-flavored number that actually had my companion saying, “This reminds me of Bone Thugs N Harmony”; a couple of others veered into cool-jazz territory found the horn section evoking mid-‘70s Stevie Wonder and Earth Wind & Fire (and featured a stinging jazzy solo from keyboardist Javier Burin).
In just one example of the group’s versatility, Ca7riel — who happens to be a blazing guitarist — peeled off some tasteful, jazzy licks on one song, even scat-singing along with his solo a la George Benson, and on the next was rapping loudly while pulling elastic faces and jumping up and down. Even though the joyfully enthusiastic audience knew the words to all of band’s songs — nearly all of which were from the album and EP — and sang along passionately, you truly never knew what was coming next.
But for all of their musical expertise and undeniable chops, most of all Ca7riel and Paco are fun, playing with the audience, making faces, doing a comical exercise routine to their latest single “El Dia Del Amigo” (which they took to even more comical ends on “Jimmy Fallon” earlier this week). And the musicians all looked like they were having a great time too: Clad in more or less matching outfits — white shirts with black shorts, which bassist Felipe Brandy customized with hilarious oversized sunglasses and sock garters — they were laughing, goofing around and cheering each other throughout the set, all without missing a single beat. There were even lasers.
Ca7riel & Paco Amoroso will be on tour in North America for most of the spring, and come back in the summer for Lollapalooza in Chicago and presumably more dates. Even if you don’t speak Spanish or have little familiarity with Latin music, you’d be hard pressed to find a more entertaining live show.
MUSIC PREMIERES
“I’m looking for an answer in between the lines/ Lying to yourself if you think we’re fine,” Sabrina Carpenter sings while seated gracefully on a toilet.
It is the opening night of her “Short n’ Sweet” tour at what she proudly described as “five fucking sold-out shows at Madison Square Garden.” The toilet appears within the bathroom section of her expansive stage design, which resembles a cross between a 1970s television set and a Barbie-inspired dream house from the same decade.
More importantly, Carpenter performs a heartfelt ballad, one of her signature songs blending humor and honesty in her storytelling about relationships. The track, “Sharpest Tool,” reflects on being in love with someone lacking awareness, serving as a thematic successor to her recent hit “Please Please Please.”
The toilet itself is an elegant prop with a heart-shaped lid, while the “bathroom” area is surrounded by sheer screens that display close-up video projections of her performance. Few major female pop artists today would likely deliver a serious song in such a setting. It highlights Carpenter’s willingness to approach familiar ideas with originality and confidence.
With her classic American glamour, Carpenter maintains a striking image while writing songs that address relationships and intimacy with unfiltered honesty. Those themes are presented within polished, radio-ready pop production that still holds musical depth. The pre-show playlist included ABBA’s 1979 track “If It Wasn’t for the Nights” and Diana Ross’ 1980 hit “I’m Coming Out,” acknowledging both her stylistic influences and her strong LGBTQ following.
Her audience consists largely of young girls who may not yet relate directly to the personal experiences behind her lyrics but view her as a relatable, older-sister figure. Many of their parents, especially mothers accompanying them, also appeared to be fans. One of the night’s more unexpected moments came when Carpenter led thousands of middle-school-aged fans in singing the explicit lyric “I’m so fucking horny!” during “Juno.”
The show, mostly following the same structure as her previous tour, featured the full production scale of a modern arena concert. The visual theme of vintage television carried through as Carpenter performed across multiple areas of the set, including a balcony, staircase, walk-in closet, and in front of a vanity and fireplace, supported by 11 dancers and a live four-piece band.
She changed outfits four times throughout the concert, each one sparkling and styled to highlight her signature stage presence. The setlist focused mainly on her latest albums, “Short n’ Sweet” and “Man’s Best Friend,” while including several tracks from her 2022 record “Emails I Can’t Send,” which marked her transition into a mature artistic phase. The show opened with “Taste,” included highlights such as “Manchild,” “Feather,” and “Bed Chem,” and concluded with “Espresso” during a colorful confetti finale.
Between songs, the screens played comedic 1970s-inspired mock commercials, including a parody tool advertisement using the line “The Sharpest Tool, trusted by carpenters everywhere.” The presentation also featured a fabricated “Technical Difficulties” interruption and an excerpt from a Leonard Cohen interview in which he compared writing poetry to “shining the shoes of one’s soul.” The concept was imaginative and visually engaging, though much of the nostalgia predates her audience’s generation. Still, it reflected Carpenter’s ability to merge vintage aesthetics with contemporary performance.
The most memorable parts of the concert came from her natural connection with the crowd. Familiar interactive moments filled the show, including audience singalongs, call-and-response sections, and a “surprise song” feature in which Carpenter spun a bottle to select a number, leading to a live debut of “Go-Go Juice” from her new album. She also spoke candidly with the audience, remarking that she had “been one of you” during her years living in New York, before adding, “Actually, I’ve tried to be one of you.”
Her awareness of the audience’s enthusiasm was evident throughout. She acknowledged fans directly, often gesturing toward specific sections and offering warm appreciation. Near the end, she took time to praise their creativity, saying, “I want to take a second to commend all of the amazing outfits I see.” She expressed gratitude for the crowd’s effort and enthusiasm, recognizing the fans who mirrored her signature style with platform heels, glitter, and lipstick marks on their shoulders.
From artists such as Cher, Donna Summer, and Deborah Harry to Madonna, Beyoncé, and others, many women in pop music have explored the boundaries of expression and sexuality in their art. Sabrina Carpenter continues that tradition with confidence, balancing playfulness and self-awareness while maintaining authenticity and respect for her audience.
