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
Four years on from the ‘Actual Life’ series lifting him into the mainstream spotlight, Fred Again.. continues to feel unavoidable. The London producer and DJ born Fred Gibson has moved at a relentless pace, bouncing between sold out stadium dates in New York and surprise appearances at Sheffield’s 1,000 capacity Forge, while also making history as the first electronic artist to top the bill at Reading and Leeds in 2024.
Where the ‘Actual Life’ releases and his fourth album, 2024’s ‘Ten Days’, leaned into warmth and joy pulled from ordinary moments, Gibson has also sharpened his instinct for high impact club weapons rooted in garage, dubstep and jungle. That side of his output lives on ‘USB’, an “infinite album” first imagined in 2022 as a home for tracks that exist outside any fixed universe, including defining moments like ‘Rumble’ and ‘Jungle’.
‘USB002’, the second vinyl only chapter of the ‘USB’ project, brings together 16 recent tracks, many of which surfaced gradually on streaming services over a ten week stretch. The music was shaped live, in step with ten unannounced DJ appearances across the world from Dublin to Mexico City. Even with a Glastonbury style registration system in place, The Times reported that 100,000 people tried to secure tickets for the opening night in Glasgow.
Appropriately, ‘USB002’ feels alive and constantly in motion, helped along by contributions from close collaborators such as Floating Points and Sammy Virji. The rigid, techno driven pressure of ‘Ambery’ echoes elements of Floating Points’ 2019 album ‘Crush’, while Gibson’s take on ‘The Floor’ builds like the slow climb of a rollercoaster before dropping back to earth without warning.
The guest list stretches beyond the usual dance circles, with two Australian guitar bands popping up in unexpected ways. ‘You’re A Star’ reworks Amyl and The Sniffers’ ‘Big Dreams’ into a breakbeat driven rush, while ‘Hardstyle 2’ pulls the experimental post punk edge of Shady Nasty into an Underworld adjacent space alongside Kettama. Gibson’s real trick is his ability to connect with anyone. These tracks are not reinterpretations but full takeovers.
The visual world wrapped around the ‘USB002’ rollout reinforces the instinct behind the music. Phones were prohibited at shows staged in vast warehouse spaces under sweeping light rigs, while Gibson’s team shared striking black and white footage and created artwork for each single on site. Bottling that sense of urgency, the project is rooted in the thrill of the present moment, something Gibson seems able to summon simply by turning up.
If the ‘Actual Life’ series and ‘Ten Days’ captured passing snapshots of experience, ‘USB’ is defined by constant movement, a space where boundaries are removed entirely. Sitting somewhere between an album and a playlist, ‘USB002’ underlines why Fred Again.. feels so dominant right now, and suggests that his current run may only be the beginning of something much bigger.
