Caetano Veloso, A Luz de Tieta (ao vivo / live), Farewell Tour, March 29, 2024 (4K)

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Caetano Veloso plays his song "A Luz de Tieta" live in concert before a sold-out crowd at the Paramount Theatre in Oakland, California on March 29, 2024. A Luz de Tieta appeared on the soundtrack to the Carlos Diegues movie Tieta do Agreste (1996). This concert, presented by SFJazz, was the third night of Veloso's U.S. Farewell Tour. Joining Veloso onstage were Lucas Nunes (guitar), Alberto Continentino (bass), Rodrigo Tavares (keyboards), Pretinho da Serrinha (percussion), Kainã do Jêje (percussion), and Thiaguinho da Serrinha (percussion).

(Caetano Veloso toca sua música "A Luz de Tieta" ao vivo em um concerto para uma plateia lotada no Paramount Theatre em Oakland, Califórnia, em 29 de março de 2024. "A Luz de Tieta" apareceu na trilha sonora do filme Tieta do Agreste (1996), dirigido por Carlos Diegues.)

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Caetano Veloso - U.S. Farewell Tour dates (2024):

March 24 - Houston, TX @ Hobby Center for the Performing Arts
March 27 - Seattle, WA @ Moore Theatre
March 29 - Oakland, CA @ Paramount Theatre
March 31 - Los Angeles, CA @ Walt Disney Concert Hall
April 3 - Brooklyn, NY @ Brooklyn Academy Of Music
April 4 - Brooklyn, NY @ Brooklyn Academy Of Music
April 6 - Newark, NJ @ New Jersey Performing Arts Center
April 9 - North Bethesda, MD @ The Music Center at Strathmore
April 11 - Princeton, NJ @ McCarter Theatre Center
April 13 - Boston, MA @ Orpheum Theatre

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Official show announcement:

"One of Brazil’s, and the world’s, most graceful and innovative songwriters” (NY Times), Caetano Veloso returns on his FINAL TOUR to share gems from his five-decade career and music from his latest Sony release, Meu Coco.

Blessed with an otherworldly voice and an Ellingtonian understanding of harmonic color, Veloso co-led the bossa nova and Tropicália movements of the late 1960s and has since taken on everything from funky samba workouts to ethereal balladry and orchestral pieces. His self-titled 1968 LP was a revolutionary statement, single-handedly launching Tropicália and helping to contemporize Brazilian popular culture in its embrace of international musical influences. Over 40 albums followed that have continued to expand the scope of Brazilian music, including his celebrated Carnegie Hall collaboration with David Byrne in 2004 and the 2007 rock-informed Nonesuch release Cê that earned two Latin Grammy Awards. For this night, Veloso brings music from 2021’s Meu Coco, his first album of new music in nearly a decade and his most direct and personal recording to date.

Now 81, Caetano Veloso has attained a global stature as a songwriter on par with the likes of John Lennon and Bob Dylan. His influence across musical genres and geographic borders has been vast, yet his riveting concert appearances remain the most important aspect of a legacy still in progress.

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Caetano Veloso official bio:

Caetano Veloso is among the most influential and beloved artists to emerge from Brazil, where he began his musical career in the 1960s. Absorbing musical and aesthetic ideas from sources as diverse as The Beatles, concrete poetry, the French Dadaists, and the Brazilian modernist poets of the 1920s, Veloso – together with Gilberto Gil, Gal Costa, Tom Zé, his sister Maria Bethânia, and a number of other poets and intellectuals – founded the Tropicália movement and permanently altered the course of his country’s popular music. Caetano continues to be a major musical, social, and cultural force in Brazil, and an influential figure to musicians all over the world. The New York Times calls him “one of the greatest songwriters of the century.”

Caetano is now back with new album Meu Coco, which is set to be a journey inside the artist’s head, showing how his brain works while creating his songs. In his own words:

“It’s been nine years since I released an album of new songs. At the end of 2019, I felt a strong desire to record new material on my own. It all started with a beat on the guitar that seemed to outline something that (if performed as I dreamed) would sound original to any audience anywhere in the world. The song “Meu Coco” was the result of this, and by adding to the outlined beat a melody with the selections of Brazilian women’s names, it cut a samba rhythm into simplified and hard cells. I hoped to find the right tone quality to turn this dream riff into a concrete novelty. And I was sure that the rhythm, its sound, and its function would only be definitively embodied if the dancers of the Folkloric Ballet of Bahia created gestures based on what was outlined on the guitar. With that, I would figure out the tone quality and everything else. But 2020 came along, the coronavirus received the name Covid-19, and I was stuck in Rio, postponing my trip to Bahia to talk to the dancers. Would it wait a few months?

Over a year went by and after having composed songs that seemed to be born from “Meu Coco,” I needed to start recording in my home studio.”