Natalia LaFourcade

The Rialto Theatre Presents

Natalia LaFourcade

Augusto Bracho

May 20 Sun

Doors: 7:00 pm / Show: 8:00 pm

The Rialto Theatre

$41 - $46

This event is all ages

Natalia LaFourcade
Natalia LaFourcade
Natalia Lafourcade is a successful singer-songwriter whose voice and music live on the edge of pop, but maintain a distinct independence.

A few years ago, while Lafourcade was traveling Brazil, she felt a great nostalgia for her native Mexico and its folk music. When she finally returned home, she immediately called some friends for the kind of party that is ubiquitous in Latin America: lots of social drinking, lots of food and lots of guitars and singing. Classic folk songs were on the playlist and a good time was had by all.

Someone recorded the informal jam session and Lafourcade's management team heard the tapes. "This is your next record!" they told her.

That record, Musas: Un Homenaje al Folclore Latinoamericano en Manos de los Macorinos, Vol. 1, was a commercial and critical hit, and received a Latin Grammy nomination for Album of the Year. It only made sense for Lafourcade to bring her Musas tour to the Tiny Desk. The performances are an ode to a magical time in Mexican popular music, one that is revived with every note this singer and her band perform.
Augusto Bracho
Augusto Bracho
Nacido en algún rincón de América Latina, Augusto Bracho representa una figura misteriosa dentro de su propio imaginario musical. Conocido en los barrios bajos como «el soldador de los ritmos», Bracho juega a fundir sonidos, imágenes, polvo, palabras y tradiciones dentro de una perspectiva muy particular; lo mismo canta un merengue que una ranchera, o hasta un cuplé.

Su primera presentación fue en Buenos Aires y su primer material discográfico grabado en México. De esta manera y desde diversas esquinas del continente al que pertenece, el personaje va cultivando su poética y su sombra; en ocasiones amparadas por La Bullanga Atronadora, un conjunto de músicos inquietos, la mayoría aficionados a las cantinas y al dominó, que sirve de refuerzo a los enigmáticos conciertos del autor. Canciones tan pintorescas como «Qué fácil ser mamarracho», «El rey del pecado frito», la romántica «Manos postizas» o la musicalización esotérica y primitiva del poema «Sensemayá» de Nicolás Guillén, forman parte de su repertorio.

Lo han visto en la estación Jamaica del metro de Ciudad de México cantando con su cuatro y una armónica prestada. En Lima lo escucharon recitando versos de amor a su perra Roberta frente a la tumba de Chabuca Granda, y aparentemente en Barranquilla hizo palmas en varios recitales de chandé con un entusiasmo solo comparable con el brío y la magia que se derivan del aguardiente o el ají. Es así como Augusto Bracho se conoce y se desconoce en su propio mundo.

En nuestra actualidad, la música de Bracho puede disfrutarse en presentaciones vivas ofrecidas por toda Iberoamérica o en registros discográficos como el EP artesanal titulado Primer acercamiento al mito, publicado en septiembre de 2014.

El músico también es miembro de proyectos colectivos como Augusto & Moisés –dueto con influencias madrigaleras que comparte con Moisés de Martín–; El Conjunto –un dúo para bailar y reír que mantiene con Martín Bruhn–; y el Cuarteto Internacional –grupo musical casi familiar que destaca por la armonía vocal y la de sus integrantes: Marina Sorín, Nacho Mastretta, Martín Bruhn y el propio Bracho–.

Augusto Bracho es el heterónimo musical de otro personaje, el artista venezolano Gustavo Guerrero (Caracas, 1986), radicado en México.

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Nacido, in some corner of Latin America, Augusto Bracho represents a mysterious figure within his own musical imaginary. Known in the slums as "the welder of rhythms", Bracho plays to fuse sounds, images, dust, words and traditions within a very particular perspective; the same sings a merengue that a ranchera, or even a cuplé.

His first performance was in Buenos Aires and his first record material recorded in Mexico. In this way and from different corners of the continent to which he belongs, the character cultivates his poetics and his shadow; sometimes covered by La Bullanga Atronadora, a group of restless musicians, most of them fond of canteens and dominoes, which serves as a reinforcement to the author's enigmatic concerts. Songs as picturesque as "How easy to be bullied", "The king of fried sin", the romantic "Hands postizas" or the esoteric and primitive musicalization of the poem "Sensemayá" by Nicolás Guillén, are part of his repertoire.

They have seen him at the Jamaica subway station in Mexico City singing with his cuatro and a borrowed harmonica. In Lima they heard him reciting verses of love to his dog Roberta in front of the grave of Chabuca Granda, and apparently in Barranquilla he clapped in several chandé recitals with an enthusiasm only comparable to the brio and the magic derived from aguardiente or ají . This is how Augusto Bracho knows himself and is unknown in his own world.

In our present, Bracho's music can be enjoyed in live performances offered throughout Ibero-America or in recordings such as the artisan EP titled First Approach to Myth , published in September 2014.

The musician is also a member of collective projects such as Augusto & Moisés -dueto with madrigaleras influences that he shares with Moisés de Martín-; El Conjunto - a duo to dance and laugh with Martín Bruhn; and the International Quartet - an almost familiar musical group that stands out for its vocal harmony and that of its members: Marina Sorín, Nacho Mastretta, Martín Bruhn and Bracho himself.

Augusto Bracho is the musical heteronym of another character, the Venezuelan artist Gustavo Guerrero (Caracas, 1986), based in Mexico.
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