Cool surprises at Fête de la musique’s Intramuros stage
RELATED: What went on at Fête de la Musique’s Makati stages
At the Maestranza Plaza, which turned out to be a nice corner of Intramuros along the Pasig River side, the opening ceremonies of the annual Fête de la musique kicked off the day before on the same venue.
It was an ideal location for a musical event, spoiled occasionally by the awful smell wafting from the river.
On its 20th year, Fête de la Musique had 3 main stages: two in Makati, one in Intramuros and 19 satellite stages in bars throughout both cities.
Chocolate Grass wasn’t forgettable
It was a balmy sundown when Chocolate Grass opened Fête de la Musique’s Manila showcase.
I’ve seen the five piece play at a jazz weekender and their Fête set was a far cry from their forgettable show at Tiendesitas.
That Saturday afternoon, the acid-jazz slant of the band got hijacked towards rock by skronking trumpets, powerful drumming and a lead vocalist who shifted between heavy soul and old-school R&B with equal ease.
Like Sino Si Kat’s Agarrado fronting the UP Jazz Ensemble.
The revamped Imago
Imago put on a revamped line-up, with new vocalist Mayumi Gomez in place of Aia de Leon and drummer Zach Lucero moving to guitars.
They’re now also a five-piece group and the three-guitar attack lent a harder kick to their ear-friendly pop-rockers.
Mayumi’s twee vocals reminded me of Throwing Muses’ Tanya Donnelly, but such impromptu recollections hardly mattered especially when the band roared into the gorgeous “Summer Baby” off their soon to be released new album entitled “Kapit.”
Peryodiko deserved a standing ovation
An early evening drizzle turned into sputtering rainfall when Peryodiko hit the stage.
Led by guitarist/ vocalist Vin Dancel, the band elicited loud applause and hoots when they played “Bakasyon”.
In fairness, the band deserved standing ovation from the audience in appreciation for their knack to go from reggae to hard rock to emotive balladry within the same song.
Revelation from Barbie Almalbis
I predicted business-as-usual from Barbie Almalbis, with the inevitable “Tabing Ilog” in her Fête set and proved myself 75% right.
Her rocking rework of the song, “Torpe” was a revelation.
Barbie’s savvy guitar riffing and solid support from her backbeat twosome had me seeing visions of a power trio in the making.
Wilderness was a surprise package
The 9-piece Wilderness was the surprise package for me. Playing what their vocalist described as “electric cha-cha,” the collective literally inserted at least three sub-genres of rock in their jazz-funk explorations.
Within the same song, there’d be breakdowns into punk, metal and prog-rock (via ‘70s Santana) in a brass-driven, keyboard enhanced tune.
Depending on the mood, the lead singer would go from emo ballad to death growl to haranguing the audience as he pleased. You don’t need chemical hallucinogenic to gain a toe-hold on Wilderness’ mad twist on psychedelia.
Off to a satellite stage
The crowd at Maestranza Plaza had peaked to a hundred brave souls when I moved to Sazi’s which had deflated in size from its cramped space at the old location in front of UST to half that capacity in the new hang-out on Nakpil St. in Malate.
On the way to Sazi’s, I had the distinct impression I’d be meeting the ghosts of punk dive Katrina’s past and I was ready to concede as much when I settled down at the lone empty table outside of the venue.
I immediately heard punk shrieks and speed hardcore guitars emanating from inside Sazi’s as I watched young kids in black tees come in and out of the place.
Change of pace
I was ready to comfort myself with hearing second-rate Deftones for the rest of my stay when on its next song, the band named Diachroma put out their inner Rush on show and their hardcore-laced tirades moved to a more progressive rock bent with the lead singer appropriating Geddy Lee’s helium vocals.
It was cool change of pace and deflated my preconceptions about the state of today’s punk and metal scene.
Sirens from Cebu
The band Sirens originally from Cebu was preparing for their set when a French-speaking couple occupied a table next to mine.
When the band played their first song, a gorgeous pop rocker (in which I heard strains of The Replacements, Husker Du and Urban Bandits), the couple stood on their seats to get a better view of the goings-on inside Sazi’s.
I immediately scored a copy of the band’s debut CD entitled “Beginnings” and in a quick conversation with Siren’s mainman Josh after their set, he said their opening song was a new still untitled composition intended for their next album.
The melodic side of alt rock
Sirens played tracks from their debut and their performance brought to mind the melodic side of alternative rock.
Siren’s Josh told me their major influence is American band Saosin and it figures.
Saosin is best known to be equally adept at scream in your face punk rockers as well as sticky sweet derivatives of Green Day’s hook-laden anthems.
Looking forward
Never Die took to the stage next and the four guitar band got going early with a post-metal (i.e. instrumental modern rock) propulsion.
My ears perked up to the possibility of finally hearing our very own And So I Watch You from Afar, recent Manila visitor, or the acclaimed Russian Circles. Unfortunately, the vocalist decided to add his voice by the next song and the post-metal tunings got partially submerged in hardcore barks and death howls.
By midnight, I had my fill of surprises. Reason enough to finally give my jaded other half a rest. I look forward to next year’s Fête with renewed interest.
RELATED: What went on at Fête de la Musique’s Makati stages
