Last night may have been the end of an era.

Maneja Beto played a going-away show for their lead singer, Alex Chavez. While not officially broken up, Maneja Beto won't be playing without Chavez, who took a position at the University of Notre Dame. "What will you be doing, mopping floors?" Brandon Badillo of Bemba Entertainment asked in jest, after taking the mic to say some kind words about the band. Actually, he'll be a professor. Dude has his PhD.

For eight years, Maneja Beto has brought danceable rhythms to Red River and all of Austin, mixing genres and styles that appeal to hip indie kids as well as Latin music aficionados. Few bands have attempted this sort of hybrid sound, and even fewer have lasted as long and with the respect that this quintet has garnered in the Austin music community.

The band played two sets last night at The Mohawk on Red River. The first was composed of original songs, many of which are on the band's new album, Escante Calling. We got to hear new music for the first (and maybe last) time. It got off to a bumpy start, with a Chavez's microphone not being on while he was trying to sing (seriously, sound guy?).

The band had a couple of guest female singers providing backup vocals, which was a nice touch—though I've heard Chavez hit notes higher than many women could even hit. There were moments when Maneja seemed not at their best. Maybe it was nerves, emotions or just a bad mix, but they got the crowd into it several songs in. Their recent single "Ofrendas" is always a hit live and that was no different on this night.

For their last song of the first set, the band closed with their hands-down best song, "Campanera." Once that off-kilter guitar line came in, followed by the cowbell beat, the crowd went nuts. This song exemplifies what Maneja Beto is at their best: rhythm-driven and dance-oriented with intelligent and socially conscious lyrics (that, in this case, reference political corruption, immigration and the war in Iraq). They have moments that sometimes fall flat in their live set, but "Campanera" is always solid and reminds you why this band is great. Suena campanera con la cumbia sonidera.

After an hour-long break, the second set commenced in the more crowded and sweaty Mohawk indoor stage. The second set was made up entirely of covers. Maneja is no stranger to covers, known to sprinkle past sets with homages to Morrissey and Joy Division. They went all out for this set, covering Depeche Mode, The Clash, Talking Heads and teasing some Slayer riffs at one point. The mostly Latino crowd went craziest for Maneja's cover of Morrissey's 1988 classic "Suedehead." I don't know what it is, but Latinos love them some Moz. Indeed, after the band's set was done, and Badillo brought the band tequila shots, the crowd was roaring for an encore (mixed with lovingly snide chants of "culero, culero"). So guitarist Nelson Valente, observing that the band didn't know any other covers, offered the crowd a repeat of "Suedehead" and the crowd was all about it.

The five members of Maneja Beto then huddled to discuss how to end the set. They launched into the Morrissey cover once more, but as the song was coming to an end a few minutes later, Valente slowly and teasingly came in with the opening riff of "Campanera." He would play the riff cleanly, then drop out, then play it a little more slowly than usual, before going full-bore into the song with Bobby Garza's percussion, Alec Padron's bass and Patrick Estrada's drumming. As with the first set, the band couldn't help but close their last set with their best song, and the crowd danced as Maneja Beto sweat and grooved under the bright lights for the last time in what might be a long time. Suena campanera con la cumbia sonidera.

Photos by Ajay Miranda.

          Maneja Beto at MohawkPhoto by Ajay Miranda           Maneja Beto at MohawkPhoto by Ajay Miranda           Maneja Beto at MohawkPhoto by Ajay Miranda            Maneja Beto at MohawkPhoto by Ajay Miranda            Maneja Beto at MohawkPhoto by Ajay Miranda            Maneja Beto at MohawkPhoto by Ajay Miranda           Maneja Beto at MohawkPhoto by Ajay Miranda           Maneja Beto at MohawkPhoto by Ajay Miranda            Maneja Beto at MohawkPhoto by Ajay Miranda           Maneja Beto at MohawkPhoto by Ajay Miranda           Maneja Beto at MohawkPhoto by Ajay Miranda            Maneja Beto at MohawkPhoto by Ajay Miranda  Maneja Beto at MohawkPhoto by Ajay Miranda

Blues on the Green is an Austin summer staple. Local radio station KGSR presents multiple artists on various Wednesday nights for free throughout the summer at Zilker Park. It's one of the many musical summer events Austinites have to look forward to. On a beautiful, warm evening, there is no place better to discover or enjoy live music than on Zilker’s lush green grass. On Wednesday, July 7, Austin’s own Alejandro Escovedo took the stage in front of thousands of attendees for what was one of his most memorable sets to date.

In vintage Escovedo form, the rock icon came out swinging with songs from various albums in his popular catalog, including songs like “Chelsea Hotel ‘78” from his most successful release, 2008’s Real Animal. In what is normally a three minute song or so, the live version takes an extra couple of minutes or so to rock the crowd with some extra riffage. Those enthusiastic Escovedo fans up front towards the stage seemed to enjoy singing along to the classic “Castanets” the most.

It’s too bad so many in attendance weren’t paying attention to one of his best sets to date. It's hard for a rock 'n' roll purist to see soccer balls being kicked around, hippy girls hula-hooping and dogs more interested in the rock history being made right in front of them than their owners.

Thankfully, most of those people who there just to be there didn’t discourage Escovedo from coming out for an encore that included the classic-rock sounding “Real As An Animal” and the David Bowie-written classic by Matt The Hoople, “All The Young Dudes.” Only a small select few can touch that song and do it justice, and Escovedo nails it every time. To hear it live in such a beautiful setting was a real treat for all, as it was one of the few rare moments the hula hoopers noticed there was concert going on behind them.

Photos by Carlos San Miguel

          Alejandro Escovedo at Zilker ParkPhoto by Carlos San Miguel           Alejandro Escovedo at Zilker ParkPhoto by Carlos San Miguel            Alejandro Escovedo at Zilker ParkPhoto by Carlos San Miguel            Alejandro Escovedo at Zilker ParkPhoto by Carlos San Miguel            Alejandro Escovedo at Zilker ParkPhoto by Carlos San Miguel            Alejandro Escovedo at Zilker ParkPhoto by Carlos San Miguel           Alejandro Escovedo at Zilker ParkPhoto by Carlos San Miguel            Alejandro Escovedo at Zilker ParkPhoto by Carlos San Miguel            Alejandro Escovedo at Zilker ParkPhoto by Carlos San Miguel           Alejandro Escovedo at Zilker ParkPhoto by Carlos San Miguel            Alejandro Escovedo at Zilker ParkPhoto by Carlos San Miguel            Alejandro Escovedo at Zilker ParkPhoto by Carlos San Miguel  Alejandro Escovedo at Zilker ParkPhoto by Carlos San Miguel

I never imagined so many people waiting in line for the Ximena Sariñana show at Stubb’s Monday, but there they were, some even an hour before doors opened, ready to watch the Grammy-nominated artist live.

The restless crowd had to wait through two opening acts before Sariñana. Starting off the night was La Royale, a Mexican DJ baring a wolf mask who provided dark, nightly sounds of haunted ragers. I think it was my skeptic father whom I first heard say that DJs were this generation’s new go-to career for the free-spirited (I cleaned it up a bit; he really said “slackers”), but in spite of La Royale’s howls and moans that unfortunately accompanied his otherwise great beats, the crowd showed good response.

Gustavo Galindo followed, promoting his debut album Entre La Ciudad y El Mar. Galindo proved to be what would result if you cross Springsteen with Juanes, a pop/rock en Español with pretty decent voice and solid guitar talent. He was appreciative of the crowd, who patiently waited for Sariñana. There are some artists who, no matter their star status (or lack thereof) have the ability to connect with a crowd—Galindo isn’t one of these artists. The performer-audience conversation during his set seemed forced, but his beautiful songs, such as “Barco de Papel” and “La Ciudad” showed his musical potential, anyway.

Having only been familiar with Ximena Sariñana through her movies and just a bit of her music, I was in shock with how much people love her. The crowd went nuts when the singer came on stage, and the older songs she presented were met with gasping, clapping and excited singing. She introduced some songs, such as “Tu y Yo” produced by Mexican artist Natalia Lafourcade and other new tracks that got unbelievable response, such as “Bringing us Down” and “Love Again.”

There were so many people yelling out, whistling, cellphones and cameras out, that from time to time I was more attentive of the crowd than the singer. The thing about a small show is that certain people can actually ruin it for everybody, and this was the case when a gang of hecklers just, well, they just wouldn’t shut up. People turned, heavily annoyed, to look at the group of girls yelling out incessantly, and I just gotta say here and now, I think my favorite part of Sariñana’s performance was when she told them to be quiet, mockingly whining, “Ay ya, guarda silencio un momento, no?”

Sariñana announced her setlist got lost, but she succeeded in presenting songs such as the first she ever uploaded online, “I’m Through With Love,” which, with its musky funky beats, showed me a more sensual Ximena than I ever expected to see. To be honest, for me Ximena lacks the talent and luster that apparently most of my country seems to be enamored of, but in every one of her gestures and shutting of her eyes it was undeniable to see that she has an immense passion and love for her music. And in the end, that’s what wins a crowd.

The artist had everybody eating out of the palm of her hand. They were so enchanted by the tiny—holy crap, she looks 13—charming girl on stage, that there’s no way to truly dislike her. She showed the most strength in the final songs of the set, ending with the popular “Mediocre” and “Vidas Paralelas,” as well as a song she wrote for an “hijo de puta” (said jokingly, of course) who left us all without saying goodbye. It was in those songs that she slowly won me over, because she showed great strength, and even though her voice could use some work, she was unbreakable. She owned the stage.

Despite a lot of complaining from the crowd saying she didn’t perform some old-time favorites, it was a very successful show. And although she is a charming singer who’s a pleasure to watch, for me, the excitement people had for her only confirmed what I already suspected: We’re in dire need of true Mexican talent, real Mexican superstars. The hunger to see one of our own succeed was palpable last night, and I think sometimes that’s confused with honest-to-God talent. But hey, I’m just a writer.

All photos by Hanlly Sam for Austin Vida.

          Ximena at Stubb'sPhoto by Hanlly Sam           Ximena at Stubb'sPhoto by Hanlly Sam           Ximena at Stubb'sPhoto by Hanlly Sam           Ximena at Stubb'sPhoto by Hanlly Sam           Ximena at Stubb'sPhoto by Hanlly Sam           Ximena at Stubb'sPhoto by Hanlly Sam           Ximena at Stubb'sPhoto by Hanlly Sam           Ximena at Stubb'sPhoto by Hanlly Sam           La Royale at Stubb'sPhoto by Hanlly Sam           La Royale at Stubb'sPhoto by Hanlly Sam           La Royale at Stubb'sPhoto by Hanlly Sam           La Royale at Stubb'sPhoto by Hanlly Sam Ximena at Stubb'sPhoto by Hanlly Sam

I’ve been told multiple times in my life that I come off as a witch with a ‘b’ the first time you see me and people are intimidated to talk to me. Since I’ve come to Austin however, it seems that every other day random strangers decide to tell me their life story, or to ask me questions, whatever, and it’s come in handy. The first time I heard about Grupo Fantasma was in a cab ride, when the driver decided we should be 15 minute- BFF’s. As soon as he knew I was Mexican, he asked me if I liked to dance, and I said yes. He told me about the “best latin band” in Austin, “going on 10 years now, I think” and that people cram into their shows just to see the fantastic band live.

“You should go to their show tonight if you got a chance,” he told me, “and look for me, we’ll dance.”

Well, I didn’t go to Grupo Fantasma’s show that night, and never saw that cab driver again. We never got our dance (add slightly sarcastic sad emoticon here). But last night, months after that ride, I got the awesome experience of Grupo Fantasma live at Austin’s renowned music club, Antone’s. It was an explosive night, with Maneja Beto as the opener, an exciting flavorful build-up to the main act. There was a great energy about the place, where people got their latin fix on a Saturday night, whistling and shouting for Maneja Beto’s music, which included a brand new song with excellent response and a much-begged-for encore.

Usually when I’ve gotten the chance to go to shows in Austin, I’ve noticed the great majority audience is middle-aged. Last night there were people of all ages, especially couples getting cozy to the sexy beats; from two 18-year-olds holding hands, to a pair of thirty-somethings doing the ass-to-crotch and a sweet couple in their fifties dancing cheek-to-cheek.

When Grupo Fantasma came out after a 45-minute show from Maneja Beto, there was an obvious connection between the crowd and band. The 11-piece orchestra proved to be practically veterans, and knew their audience well. Yesterday was one of the most tiring days of my life, after a week of finals and a spontaneous one-day roadtrip to Dallas, but Grupo Fantasma’s rhythm was electrifyingly infectious. You can’t not dance to this music—or at least make the attempt to find some sort of awkward rhythm—I don’t care if you’re the most uncoordinated, stiff dancer in the world. You will move to Grupo Fantasma. And everybody did.

The crowd cheered for solos from the horn section and saxophone, and whistled when the vocalist announced their CD release, officially May 11, but they were selling the new album last night, which the band mentioned they created after renting a house “somewhere on 51st and 35” where they “made their own studio and created ‘El Existential’.”

The show was a night of heat and flavor, where every song was like the five-minute climax of a remarkably memorable party. Dancers in Austin seek this kind of event, and there were couples last night that stole some of the spotlight from the group, but that’s what was so fantastic—the clear fluid fusion between the band’s music and its audience, such a great relationship that is what separates a mediocre show from a great one.

Grupo Fantasma is not the type of music this regia is used to listening to—while living in Mexico all my life, I grew up in one of its most Americanized cities where I’d much rather listen to The Beatles or, yes, I admit, The Backstreet Boys (hey, I was nine!), than anything latin-related. But Grupo Fantasma has a chemistry and talent that just overflows. It is very overwhelming, with a style fitting for a 1950s Puerto Rican movie dance scene with a jaw-dropping beautiful woman rocking a red dress. The night was fast and slow, sensual and just plain fun. And like their new song “Juan Tenorio” says: “de aquí no sales con vida” (“you won’t get out of here alive”), everybody left Antone’s noticeably tired yet exhilirated last night, already savoring over Grupo Fantasma’s next performance.

Photos by Chris Carrasquillo, taken at Antone's on May 8, 2010.

          Grupo Fantasma at Antone'sPhoto by Chris Carrasquillo           Grupo Fantasma at Antone'sPhoto by Chris Carrasquillo            Grupo Fantasma at Antone'sPhoto by Chris Carrasquillo            Grupo Fantasma at Antone'sPhoto by Chris Carrasquillo           Grupo Fantasma at Antone'sPhoto by Chris Carrasquillo            Grupo Fantasma at Antone'sPhoto by Chris Carrasquillo            Maneja Beto at Antone'sPhoto by Chris Carrasquillo            Maneja Beto at Antone'sPhoto by Chris Carrasquillo            Maneja Beto at Antone'sPhoto by Chris Carrasquillo            Maneja Beto at Antone'sPhoto by Chris Carrasquillo  Grupo Fantasma at Antone'sPhoto by Chris Carrasquillo

Gilberto Gil has never lost his stride musically. The sharp ringing of voice as he hits a high note will tell you just that.

The legendary Brazilian singer-songwriter played his first of  two shows at Hogg Memorial Auditorium on the University of Texas campus Tuesday night.

Gil is best known for pioneering a new style of music called tropicalia in South America, which fused Brazilian samba with rock, folk and bossa nova. A music legend worldwide, Gil is also a political activist in his home country and served as the minister of culture of Brazil from 2003 to 2008.

Gil embarked on a 10-city tour recently—which included two Austin dates—titled “The String Concert.” It is an all-acoustic performance and features his son Bem Gil on guitar, as well as cellist Jacques Morelenbaum. The performance is an intimate show that pays tribute to Gil's music produced over his 40-plus-year career. He mixed hits from his extensive catalog along with a couple of new songs he produced, including one called “Quatro Coisas,” which is a tribute to his wife Flora.

While Gil's voice isn't quite what it sounded like in his youth, you can bet he can still hit the high falsetto notes, which are a trademark of his singing. The passion Gil has for his music is evident as he plucked his guitar and shook his head as he belted out lyrics in his native Portuguese.

Gil encouraged audience participation throughout his set, including through songs like “Chiclete Com Banana”  and “Nightingale.” The audience clapped and sang along without hesitation.

Between songs, Gil talked about his songs and their significance and touched on his cultural roots, particularly after playing “La Renaissance Africaine.”

“The contributions of Africa to the development of Central, Southern and North America are profound,” he said, first in Portuguese and then in English.

As simple as the arrangement of his show was, the deep layers of sound added by Morelenbaum's cello and Bem Gil's guitar to Gilberto Gil's scats, coos, whistles and shouts made for a rich experience. It was like Gil was sitting in your living room, playing just for you and telling you the secrets behind his songs.

Photos by Mitchell Ahrens for Austin Vida.

If musicians are always late, I guess it’s fitting that a music festival start late, too. That’s what I was thinking when I arrived at the Alianza Francesa, a French school I’ve known all my life—I attended for a while (and quit soon after), thanks to my mom’s strong belief that I should be trilingual—located in San Pedro, Garza García in México. Or Monterrey, for those who couldn’t care less about municipalities.

The organizers were barely starting to set up while different band members and managers unloaded instruments from beat-up vans. Time issues aside, the inaugural Festival Nrmal quickly became swarmed with artists, vendors and music lovers of all ages. The festival, a hodgepodge of madness, served not just for the music-driven, but for those craving art and throwing back a few beers with friends on a Saturday afternoon.

The stages set up around the school and on the parking lot weren’t the only focus point. One could turn left and right and find 1,000 things to look at, like the ‘60s-style living room set in the middle of the entrance. Or the colorful wooden blocks laying around, with opened paint cans still next to them, as if waiting to be picked up and splashed on the seemingly unfinished pieces of artwork. Many vendors took advantage of the opportunity and advertised their stores, selling Bowie t-shirts and macabre black-and-white drawings of skulls and what one would assume were human guts.

You could walk into four different spaces: the red stage, the green stage, the blue and the dance tent. In each one, mostly people in their 20s danced to the music, or waited patiently for the next band. The stages stood in the small gardens of the school, so if you peered into the building’s windows—which of course I did—you’d find children’s chairs and short tables and posters with French conjugations plastered on the walls.

The red stage hosted several bands like Lady Hustle and regio/Argentinian band El Cuarto, along with 60 Tigres, the most anticipated group received by the largest crowd. The band members were excited to finally have a festival in Monterrey dedicated to alternative music and smaller, unknown bands. El Cuarto’s front man, Nico, yelled out to the crowd with a smile on his face, asking the listeners to raise their hands and dance with them. When 60 Tigres got up on the stage, their songs clearly more familiar, more people arrived with their beers and cigarettes burning, nodding along to “Cancer de Pulmón”, which the band announced was from their new album.

The second biggest turnout arrived for The Volture, which includes 60 Tigres’ guitarrist, Alejandro Elizondo, on drums. Darker by then, the crowd jumped around to the garage/rock beats while the singer switched from Spanish to English from song to song.

Around the corner, at the blue stage, people listened to very different music from what was heard from the red stage. Quid Comba entertained the crowd, with its funky hip-hop, clearly influenced by the genre’s ‘80s NYC roots like Public Enemy.

The day went on, with band after band luring more guests in. The lineup included artists such as Awesome Color, Juiceboxxx,Yacht, She’s a Tease and Austin’s own MVSCLZ. Yppah, from Houston, relaxed the crowd with dreamy atmospheric beats in the blue stage. Sebastien Schuller had a similar style, mixing acoustics with electro beats, him the center of dozens of camera flashes, photographers’ eyes stuck to their lenses.

People weaved in and out of the main building, which contained an art gallery full of metallic pieces and famous Monterrey landscapes made of wooden sticks. Corn vendors were kept busy all day, and whomever didn’t eat corn carried a bag of Tostitos drenched in salsa, along with their beer.

Like a smaller Coachella Festival, part of the fun of Nrmal was people-watching, on the lookout for fascinating outfits and intriguing personal style. Both girls and guys wore colorful tees and second-skin jeans or shredded leggings and chunky Doc Martens. The scenesters concealed tired eyes behind Ray Ban wayfarers and dangled Marlboros from orange-polished nails. The typical San Petrino, clad in Armani or BCBG instead of vintage or American Apparel, listens to whatever’s playing on the radio and wouldn’t really attend this event unless Lady Gaga was playing. Which is why none of these people were my friends—no offense to the alternative, the indie, or whomever was at Nrmal. I just tend to hang out with a lot of fresas.

Festival Nrmal went on until 2 a.m. People left dragging their feet and tweeting about their favorite bands. After a day of interviews and taking pictures of sexy musicians, my hair brittle and dirty with a slight stench of beer, I was happy. Happy for the music that’s finding a home in a city in which kids look for escape everyday. Happy to have been surrounded by my city’s mountains all day, and happy I can write about this and actually get to call it work.

All photos by Eugenia Vela and Sofia José. See more on Austin Vida's Facebook page.

On Friday, I saw something I've never seen at a Brownout show.

To date, I've seen the Latin funk big band perform at Mohawk, Creekside, Scholz Garten, Pachanga Fest and who knows where else. At each of those shows, I've seen a wide variety of faces, be it old hippies, young hipsters or middle-aged Hispanic couples. But on Friday night at Antone's, I saw a new demographic: frat boys. And not just frat boys, but frat boys dancing their ass off. It would be one thing if this show were on Sixth Street and had no cover. But this was a $15 show at a blues club that usually caters to older folks. So I have to ask myself this: Has Brownout crossed that mythical border from niche band into the territory of mainstream crossover appeal?

Their psychedelic salsa alter-ego, Grupo Fantasma, did it last year with a Grammy nomination, and they've long been one of the Austin music scene's biggest draws. But their funky little cousin Brownout (equally as good, if not better) always had smaller audiences at shows. The excellent Aguilas & Cobras of 2009 sure helped to get the word out about this band, and it showed at Antone's.

With songs like "Nawlins" and "Con el Cuete", Brownout proved why their live show is both funky and danceable but also spans various, diverse moods within the funk spectrum—from lighthearted and airy to bold and heavy. Their faithful rendition of El Chicano's "Tell Her She's Lovely" showed the band's respect for their Latin funk forefathers, as well.

Because their music is so fun and diverse in its influences, it's not hard to see why this band can cross over and perhaps one day surpass Grupo Fantasma in popularity. It's rare that an instrumental band can rise to such prominence as packing Antone's on a Friday night, but Brownout has never been your average band. Their tight songs and excellent musicianship makes them a great Friday night live band, regardless of your age or subculture.

Brownout played live at Antone's Club on Friday, Feb. 19, 2010. All photos by Isabel Salazar.

          Brownout live at Antone'sPhoto by Isabel Salazar           Brownout live at Antone'sPhoto by Isabel Salazar           Brownout live at Antone'sPhoto by Isabel Salazar           Brownout live at Antone'sPhoto by Isabel Salazar           Brownout live at Antone'sPhoto by Isabel Salazar           Brownout live at Antone'sPhoto by Isabel Salazar           Brownout live at Antone'sPhoto by Isabel Salazar           Brownout live at Antone'sPhoto by Isabel Salazar Brownout live at Antone'sPhoto by Isabel Salazar

If the steam on the windows was any indicator, Café Tacvba’s show at La Zona Rosa was a hit.

Look around the crowd at a Tacvba show and you’d swear their fans must jump higher, dance harder, singalong louder than any other fans out there.

And why not? The Grammy Award-winning Mexican-quartet has had 20 years to cultivate a fervent following. Rubén Albarrán and the Tacvba crew may have come on stage looking like cool dads, but they rocked the crowd harder than many musicians half their age.

“Toca, Toca, Toca!” The crowd chanted after their set. Of course Café Tacvba obliged, giving the sweaty, charged up masses another 45 minutes. Because what’s another 45 minutes to some veteran rockeros who who seem to have discovered the secret to eternal youth through their music?

Café Tacvba performed at La Zona Rosa in Austin, Texas, on Nov. 29, 2009. All photos by Mari Hernandez.

          Café Tacvba at La Zona Rosa [Nov. 29, 2009]Photo by Mari Hernandez           Café Tacvba at La Zona Rosa [Nov. 29, 2009] Photo by Mari Hernandez            Café Tacvba at La Zona Rosa [Nov. 29, 2009] Photo by Mari Hernandez            Café Tacvba at La Zona Rosa [Nov. 29, 2009] Photo by Mari Hernandez            Café Tacvba at La Zona Rosa [Nov. 29, 2009] Photo by Mari Hernandez            Café Tacvba at La Zona Rosa [Nov. 29, 2009] Photo by Mari Hernandez            Café Tacvba at La Zona Rosa [Nov. 29, 2009] Photo by Mari Hernandez            Café Tacvba at La Zona Rosa [Nov. 29, 2009] Photo by Mari Hernandez  Café Tacvba at La Zona Rosa [Nov. 29, 2009]Photo by Mari Hernandez

For the uninitiated, a Rodrigo y Gabriela show is pretty dangerous. Their performance is a two-guitar aural assault with fingers flying and palms slapping. Such was the case at their most recent show at Stubb's Waller Creek Amphitheater. It was a typical, funky fall-ish night where a flash of rain leaves an uncomfortable mugginess. By the time Rod-Gab took the stage, a sweet breeze came in to relieve the approximately 1,800 waiting fans. “You guys rock, we love you people,” Gabriela told the crowd about 20 minutes into the show.

The Mexican-born, Dublin, Ireland-based Rodrigo Sánchez and Gabriela Quintero kept the crowd enthralled with selections from their latest album, 11:11, a tribute to the artists who’ve inspired them. Under their capable hands, they put a rocking twist to styles that define artists such as Santana, Jimi Hendrix, Michel Camilo and Pink Floyd. Under minimalist stage lighting, Rodrigo y Gabriela proves that all you need are four guitars and hands to completely stun an audience as to how hard an acoustic show can rock.

Photos by Mari Hernandez for Austin Vida.

Thursday night Austin based rock en Espanol band, Kalua, made the best of the situation they were given. They were supposed to play with Austin rock favorite, Vallejo, at Pangaea for the Pangaea Live! series. After Vallejo’s lead singer, AJ Vallejo, suffered a mild heart attack Wednesday, the show at Pangaea was obviously canceled. 

If you trekked to the Warehouse District for the Pangaea show, you saw a sign with a map directing you to 5^th street towards Beso Cantina. Kalua is no stranger to Beso, as they played their CD release for La Novedad there last fall. Unfortunately, I was unable to make that show. Luckily I was able to make this one. They even gave away free DVDs of their video for the single, “Vovlvere.”

 Having interviewed Kalua and listened to their CD multiple times, I was really looking forward to seeing these guys live. I already knew their lead singer, Juan, had some major pipes. I heard him sing at St. Edwards with the university’s mariachi group when I was a student there. He’s a small guy, but his singing exceeds his size. Having watched them tonight, I could easily see how his mariachi experience carries over to Kalua.

In addition to their own original songs, they did some really cool covers which took me by surprise. They covered Carlos Santana’s “Corazon Espinado,” the Los Enanito’s Verdes classic “Lamento Boliviano,” and of course… the quintessential Mana cover. I know it is gimmicky to cover Mana because it is an easy way to win over a Latin crowd, but I can’t help but like it.

I also can’t help but like Kalua now. They were just all right or asi asi to me before tonight. As I mentioned in my review of La Novedad, they do have a few really good songs. Thursday night they won me over with their live show. It is rare that a band sounds better to me live than on CD, but that is the case with Kalua. If you aren’t sold on Kalua based on what you hear online, check them out live before you give them a final verdict. I think you will be pleasantly surprised.