rodrigo y gabriela show a fresh familiarity at edgefield

A glowing Gabriela at Edgefield on July 6th.

Rodrigo y Gabriela's latest Portland appearance was back to the basics—mostly.

After sharing the Schnitzer stage in 2012 with a five-piece band—a Cuban orchestra dubbed C.U.B.A. (Collective Universal Band Association)—following the release of Area 52, Rod y Gab took the outdoor stage in their most impressive form—as a duo—at Edgefield on Saturday, July 6th. And while opener and C.U.B.A. collaborator Alex Wilson briefly joined the pair on piano, the performance was chiefly the familiar ol' Rod y Gab show we've come to adore—mostly.

Last time in town, the music was full of new sounds but the songs weren't—every one was simply a re-envisioned take on material from the duo's self-titled record and 11:11. But this time, the setlist featured quite the offering of new material. Being only the second date of the tour, Rodrigo mentioned that they'd just come from the studio and were ready to show off songs from the forthcoming album.

As for what was the same:

You could picture Rod y Gab getting pumped up backstage as Rage's f-bomb-filled "Killing in the Name" blared before the set. This was followed by Tool's "The Pot," which meant the duo was ready to take the stage.

Pure power.

After opening the set seated for a new tune, "Hanuman" was the first opportunity for Rod y Gab to strut their stuff, showing off the power metal stance they've both perfected.

As the natural light waned, the pair glowed, and (because I had the luxury of standing literally right underneath them while snapping photos for the first three songs) you could see the subtle, silent cues—speaking volumes with just their eyes—and not only to each other but also the audience. As Gabriela got into the groove, rapping her knuckles with more and more intensity, a brief respite would see her looking out into the crowd with a joyous, childlike smile while she yipped and bounced about the stage, one arm raised, finger pointing skyward.

A tiny hint of "Stairway To Heaven" started off Rod's solo bit. The crowd wanted it so he kept going with the Latin-ized Zeppelin before (intentionally) botching it and mouthing: "I don't remember."

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bon iver’s big band

Powerful may not be the first adjective associated with the serene indie folk of Bon Iver but as the Bon Iver big band took the stage on Saturday night, a sold-out Edgefield knew they were in for a stirring evening.

With nine musicians on stage including singer-songwriter Justin Vernon, the band of choir boys organically recreated the intricately melancholy moments from Bon Iver’s small but complex catalogue. Opening the show with the first two tracks from his recently released, eponymous second album, they demonstrated an impressive display of musicianship. Supported on the rear flanks by two drummers and their kits (Matt McCaughan and Sean Carey, who also contributed piano), the cast of many swapped guitars for violins and brass, from the French horn to the trumpet and sax, and a woodwind or two all masterfully played by Mike Noyce, Rob Moose, Mike Lewis, and C.J. Camerieri. Reginald Pace traded trombone for bells, chimes and an intensifying thunder of mallets on a cymbal, and the always impressive Colin Stetson blew the largest baritone sax known to man in his sleeveless Iron Maiden tee.

But the entire show was typified by the performance of “Creature Fear” where Justin Vernon traded moments with his band. Close your eyes and you might assume there were just one or two performers on stage until the full glory of the eight backing Vernon coalesced, scaling swift peaks and seamlessly transitioning between sparse and immense. Vernon’s solo falsetto gave way to robust choir boy harmonies, the careful, solo strum and brushed heads burst into an invulnerable uproar, and natural euphony became aberrant with experimental eeriness topped by trilling electric guitar and squeaking violin.

Like another Midwest boy who’s an incredible songwriter and performer, the commanding stage presence of Bon Iver recalled a less theatrical Sufjan Stevens. Confirming this straightforward bent, Vernon announced, “We’re gonna try a cover we learned today. This is for all you Ahmericans out there” as he embodied the opening verse lyric “The country I come from is called the Midwest,” doing his best Dylan imitation (but quickly dropping that act) on “With God on Our Side.”

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alucinante : rodrigo y gabriela at edgefield

Seated on industrial gray equipment boxes, classical Spanish guitars began their ramble last night–a trek that took the crowded grass at McMenamins Edgefield to the Orient and England, from Latin America to Seattle, guided by two casual, unassuming players: Rodrigo y Gabriela.

Indubitably Mexico City’s finest flamenco-metal fusion band, Rod y Gab come from thrash metal beginnings but gained a following while busking in Ireland, performing their unparalleled style: a classical, acoustic sound with a rock’n'roll heart. Quite possibly a singular entity in the entire world, their success stems from two things: pure skill and graciousness.

And a dedicated following is always present to see both whenever the duo comes to town.

Entering silent and subdued, their hands spoke. Attentively watching one another, the duo quickly found their rhythm and shared it with the crowd, rising and pacing the stage, stopping at either end, then standing side by side. Squaring off, Rodrigo y Gabriela do not duel–they each present a piece of the puzzle and the other builds off the provided energy and flair. Both guitar necks angled skyward, their hands hurtled forward on divergent courses. With speed and dexterity, Gabriela’s rhythms scatted and knocked, slapped and clapped the body of the guitar running at a breathless pace while Rodrigo’s lead could whisper and roar.

Seeing is believing: There really were only four hands on stage although you likely heard many more.

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flamenco-metal fusion : rodrigo y gabriela at edgefield

Take one part heavy metal and mix with two parts classical Spanish guitars and you’ve got a recipe for the world’s most stunning uproar of flamenco-metal fusion: Rodrigo y Gabriela.

The Mexican duo last visited Portland’s Arlene Schnitzer Concert Hall in October but they’re back, bringing their fast-paced, rhythmically vibrant, acoustic sound to McMenamins Edgefield on Saturday, August 14th. Best-selling Aussie singer-songwriter Xavier Rudd, newly backed by Tio and Andile under the new group Xavier Rudd & Izintaba, opens.

After more than 15 years of playing together, Rodrigo y Gabriela’s live performances are unparalleled. The pair exudes an intense energy that will make your heart race in tune with Gabriela’s lightning fingers on rhythm guitar.

Each dexterous strum of Rodrigo’s lead guitar sends a barrage of tonal messages as a powerful musical bond between the two musicians unfolds before you eyes. You will feel synapses sparking as increasingly complex arrangements and sheer speed awe you. Mouth agape in a crooked grin, you will be enchanted by the ease at which they play.

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