You just need three words to describe a Pascuala Ilabaca’s gig: alegría de vivir. The joy of life that infects you when you listen to her mellow voice, the fluctuating sound of her accordion and the full-flavoured accompaniment by her band Fauna is simply exhilarating. You just want to delve into those tones and let them soothe you!
The gig at Rich Mix, which was the first London appearance, was no exception. In front of a not large, but undoubtedly favourably-disposed audience, the Chilean singer, songwriter, pianist and accordion player smoothly unsheathed her irresistible artistic talent.
She introduced the show with few imaginative words, mixing Spanish and English. “I feel like being under una carpa de circo: a circus tent. All these colours, these lights… I like it!”. Then she acted on this fantasy. The circus opened its doors and Pascuala began in acrobat costume: a musical acrobat to be more precise. She began her sonic vaulting by playing by accordion on the notes of ‘¡Ay Mamita Mamita!’. Within a few minutes, thanks to the driving pulse of one of her most popular songs, she caught the attention of the audience and didn’t let go for the rest of the show.
Then it was the turn of a visionary dance between ‘Violeta (Parra) y Frida (Kahlo)’. Chilean tradition and more contemporary arrangements went on side-by-side alternating cueca to more bohemian, free-spirited tunes, but always evoking a circus atmosphere. Within this parade were also unexpected tempo accelerations, improvisations and moments of dance, such as the rapturous ‘Busco Paraíso’. When it came the time to introduce the raga influenced song entitled ‘En el Tren a Kanyakumari’, Pascuala and her band narrated the unique experience they had while travelling in India. This was re-stated at the end of the tune, when they extemporised a humourous interpretation of tabla vocalization.
Just before the interval, whilst presenting ‘Rey Loj’ (included on her next album) Pascuala found time to explain the meaning of the rainbow flag that acted as a scenic design: “that is Whapala, the flag which gathers together all the Latin American indigenous people”.
The second half of the gig unfolded itself with the figure of Victor Jara, one of the most influential and inspiring Chilean artists. His legacy was honoured by the South American musicians with an emotional interpretation of one of his most popular love songs, ‘La Luna Es Siempre Muy Linda’. Then Pascuala began juggling between the accordion and keyboard. She wanted to speed up the tempo and encouraged the audience to get up from their seats and dance. And ‘Isla’ facilitated her aim. The sonic scenario suddenly became more exotic and captivating thanks to the addition of a clarinet and a flamenco-like guitar. ‘Cancion Quechua’ and ‘Carnaval de San Lorenzo de Tarapacá’ also brought back the popular upbeat feelings of rumba and cumbia. But it was during ‘Diablo Rojo y Diablo Negro’ that the party mood, already underway, totally fulfilled itself. In a trice, the chairs, which were covering the dance floor, were moved and the electrified and rampant audience finally gave vent to its dancing instincts.
After an inevitable standing ovation, Pacuala Ilabaca y Fauna offered their fans a final encore. They started with a tribute to another inspiring figure of Chilean music: Violeta Parra. They played her song ‘Me Gustan Los Estudiantes,’dedicating it to the thousands of students who are fighting for free education in every part of the world. Then, Pascuala emotionally bade farewell to the spectators with one of her most passionate serenades, ‘Lamenta La Canela’. Despite the agitated nature of the tune, she opted for an intimate and romantic arrangement. Thanks to her brass player, also an excellent singer, she created a lullaby-like mood enthralling the Rich Mix audience and wishing good night in the most charming way.
[justified_image_grid ng_gallery=118]