Confucius and the Madman
Artwork by Vera Marmelo
I find the concert to be a central moment in musical practice. I understand it as the only
moment of truth regarding music. The entertainment industry imposes upon it normalization,
flattening and simulation. It is the fiction and the separation which hold that simulation
in place. In it we’re all playing and acting – the artists play off their personalities, all
eccentric to a degree, and the audience plays off its voyeur role. This evidence is so
strong that it becomes increasingly difficult to find moments of authenticity. Industry
fears these moments so much that concerts have ceased to be this moment of truth
to have become nothing but hullabaloo.
The appreciation of this hullabaloo tends to be either alienating or merely technical.
So, when I decided to release Samsara, the image of a lone piano on stage, given to
the frailty of fingers that long to spread themselves over the piano keys as much as
they long to see life and the world, presented itself to me not only as metaphor but
also as reflection. The act of presenting ourselves this naked has become so rare that
it can seem radical and new. An unforeseen, unforeseeable and adventurous moment.
That is the path I search for with my concerts. They’ve ceased to be performances
to have become life. Life that crosses paths with the everyday moments and takes
part as much on a stage as it does in a living room.
Tracks 1,2,3 and 4: recorded live at Auditório Municipal Augusto Cabrita, Barreiro
on June 22nd of 2013, by Carlos Nascimento. Thanks to Rui Dâmaso and Vitor Lopes.
This concert was promoted by OUT.RA Associação Cultural Tracks 5 and 6:
recorded live at Museu Nacional de História Natural on March 9nd of 2013,
by Cristiano Nunes. Thanks to Sérgio Hydalgo, Daniela Ribeiro and Natxo Checa.
This concert was promoted bv Zé Dos Bois Gallery (www.zedosbois.org)