Shortly after Jorge Aragão put the audience on the Sunset stage to samba and sing classics such as “Vou Festejar”, at the Gilsons show, Maria Rita delved deeper into the batuque in her performance at Rock in Rio this Saturday.
With a sound loaded in the leathers, with four percussionists, in a formation that still had guitar, seven-string guitar, cavaquinho, banjo and trumpet, the singer established a samba circle, a terreiro in the City of Rock, with the audience taking in the palm of the hand and thickening the chorus.
It was the most suitable night for that, with a program that included, in addition to the participation of Aragão, sambistas like El Pavuna, Thiaguinho and Ferrugem on the Favela stage.
However, more than just a party, Maria Rita led a political party —what is samba, after all?— with a red dress, the color that predominated in the screen projections, reinforcing the singer’s political intentions. She strolled through songs that, in a less or more direct way, aroused an atmosphere of indignation against a certain Brazil and praise for another.
The screen reinforced, highlighting words like “democracy”, “mourning”, “nobody heard” — a verse from “Canto das Três Raças”, which was in the repertoire — and images like a map of Brazil completely red.
The audience followed. In “Cara Valente”, the audience sang a backing song. To her “he’s nothing” they answered “he’s not.” At the end of her moving interpretation of “O Bêbado e a Equilibrista”, the song immortalized by her mother, Elis Regina, spliced with “O Show Tem que Continuar”, the chorus was “olé, olê, olê, olá, Lula, Squid.”
The singer took the stage to the sound of “Sorriso Aberto”, a hit by Jovelina Pérola Negra, whom she greeted in the middle of the song. Reverence was present at other times. Iemanjá, in “Reza”, in which he prayed to the orixá, to Jorge Aragão, in a potpourri of sambas like “Tendência” and “Lucidez”, and to Gilberto Gil, with “Ladeira da Preguiça” and “Amor até o End”, two songs from Bahia also from Elis’ repertoire.
Before singing, Maria Rita said that she realized that Gil, whom she called “orixá”, was the great honoree of this year’s Sunset.
In her fourth time on stage, she showed that she was at home, with vocal technique, joy and stage mastery.
It ended with “Tá Perdoado”, welcomed the space given to “national culture”, was applauded and said goodbye with “axé”, right before responding to requests for “one more” with songs like “Samba de Arerê”, “Vou Festejar ” and “É”, by Gonzaguinha, with a drum that shakes the ground.
On the big screen, “we don’t look like assholes”. Party. Policy. Samba, anyway.