B Fachada

Cine-Teatro Garrett, Sala Principal (Main Room)


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.


He writes songs that show signs of being received as social science, but the reverse is also true. He has many descendants, but he is more than the sum of those he influenced. In 21st century Portuguese popular music there is no other figure like B Fachada, the artistic name of Bernardo Fachada, composer, multi-instrumentalist, and producer. Born in 1984, he studied music at Lisbon's Gregorian Institute and learned piano. Later, he attended the Hot Clube de Portugal school and, at the University, he studied Portuguese Studies. Since 2007 he has been known for an amazing, and to some extent merciless, rhythm of editions, through which he frequently subverts the canon and converts the dogmatic, confuses expectations and expels the scoundrels, scratches labels, hunts for ruptures. Between physical and digital formats, he has released five EPs (highlighting the remote "Viola Braguesa", a reflection on the concept of tradition and its betrayals, or the 2015 split with Pega Monstro, a reflection of their friendship and aesthetic acuity), three mini albums ("Há Festa na Moradia", which had a physical vinyl edition, "Deus, Pátria e Família", which seemed to stop the country, and "O Fim", with which he announced a sabbatical), and six full-length records (from the discussion of moral issues associated with the universe of children and adolescents in "B Fachada é Pra Meninos" and the batumada pop manifesto that was "Criôlo" to the homonymous 2014, created using polished samples, baroque programming, stateless beats). Their combined impact tests the limits of what, in this field, is understood as cultural production.

Artistic and technical sheet

Voice and piano B Fachada

Duration ≈ 60 minutes ● > 12

© Photo Mané Pacheco

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