Review: Brazil is changing. Caetano Veloso is forever.
Caetano Veloso performs at The Music Center at Strathmore. By Chris Richards Chris Richards Pop music critic Email Bio Follow Pop music critic April 16 at 3:45 PM When Caetano Veloso sings, it sounds more powerful than reality, but he knows it’s real.
But if there’s a central life force residing in the heart of tropicalia — then, now or tomorrow — it’s the music’s radical, radiant optimism. For Veloso, making music in the late ’60s was “the right to imagine an ambitious intervention in the future of the world, a right that immediately begins to be lived as duty.”
Veloso knows plenty about propagating optimism in heavy times. Tropicalia was in full bloom in December 1969 when Veloso and his songwriting comrade, Gilberto Gil, were arrested without explanation, imprisoned for months, later put on house arrest and eventually exiled to London.
Caetano Veloso — second from the left — performs with his sons , Zeca, Moreno and Tom. The show began with two flashes — one tune famously recorded before Veloso’s exile and one after. The first was “Baby,” a ballad that embodied tropicalia’s hybridized aesthetic with a dash of English and a seemingly bottomless voluptuousness.
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