B Fachada

Since he is an instrumentalist who, with very few exceptions, is used to performing solo, one would say that discussing the presence of B Fachada in a festival of this kind would be tautological. Unless, of course, it is necessary to make a second distinction: between the solo musician and the soloist. The truth is that, in concert, B Fachada rarely shows signs of being alone on stage: for jumping from one instrument to another (from the Hohner Pianet to the viola braguesa or from the MPC sequencer to the electric guitar), yes, but also for so often using samples, programming or pre-recorded tracks - as if to demonstrate live that aptitude for studies of a different nature that he revealed on record. And this emphasis on production values, orchestration, communication, or whatever you want to call it, has in so many ways such great advantages that it can never be considered exactly derogatory. Except, once again, that it relegates to a lower level an evidence that should now be highlighted: that, throughout his career, it is when he is alone at the piano that B Fachada seems to generate more emotion. Think of 'O Ciúme e a Vergonha' (2009), 'Só te Falta Seres Mulher' (2009) or significant parts of the emblematic 'Deus, Pátria e Família' (2011) and the album of the same name from the same year. Besides, those who have been listening to him longer imagine that many of his most popular songs - on albums like 'B Fachada é Pra Meninos' (2010) or 'Criôlo' (2012) - had a gestation on the keyboard. That will be a question for this recital to answer. It is Fachada, the piano and his themes as they come into the world.