At 9:07 PM, the screen at the Bourbon Country Theater in Porto Alegre, a stage for performances from all sectors of the arts, went up. On August 19th, it hosted Sepultura . The legendary Brazilian group needs no introduction, and on this night they treated the people of Rio Grande do Sul to the anticipated performance of songs from their most recent and already acclaimed album, Quadra (2020). An indispensable item in the quartet's discography, its release reiterated the powerful comeback the band has been experiencing since their previous album, Machine Messiah (2017). For this night, Derrick Green (vocals), Andreas Kisser (guitar), Paulo Xisto (bass), and Eloy Casagrande (drums) prepared a set emphasizing the excellent phase this lineup is going through, but also revisited oldies that shook the theater's foundations.
Titãs' sound rolls through the PA system, energizing the crowd who belt out the choruses. A display of red lights signals the dramatic introduction of "Isolation," a track from their new album, with the quartet taking the stage and delivering their powerful sound in high definition. The classic "Territory" draws the fans into the performance, singing along with Derrick. The band displays impeccable cohesion, and while their interpretations of classics from the Cavalera raised doubts, today these performances are greeted with respect and passion by the audience.
“It’s fucking awesome to be here with you guys,” Derrick exclaims, before introducing the new classic “Means To An End.” The new songs showcase a very down-to-earth band, grounded in reality and with a thirst for the stage. The audience's involvement, packed into the theater's architecture, made the show even more special.
An intro plays over the PA system, and those who came to see the new album enjoyed it: "Capital Enslavement" is pure thrash metal, and Andreas Kisser's stage presence shows why he's so respected by the old guard of the genre.
The band is looking for “Kairos,” one of the hits from the Derrick era, which prompted audience interaction during Andreas' solo. The bass has a phenomenal tone; the perfect low notes reverberated robustly and with great quality.
Andreas takes the microphone, thanks all the people from Rio Grande do Sul for being there, excited that they can finally complete their tours in peace. “Let’s play some oldies. This one’s from Chaos AD ,” and then comes “Propaganda,” bringing Sepultura’s political aesthetic to a time of lies and chaos.
An even older song, “Dead Embryonic Cells,” surprised the setlist hunters, the place went wild, the crowd jumping like crazy, always keeping up with the renowned hit from the band's classic, underground, and brutal era.
From the past to the present, “Guardians Of Earth” begins with an introduction featuring Andreas' nylon-string guitar, followed by a powerful, in-your-face sound. Excellent orchestral arrangements enhance the single's performance, and the guitarist's soaring high notes on the fretboard drive the audience wild.
“Last Time” and “Cut Throat” got the crowd going, the people moshing in the theater reflected the excitement of the night. “The mosh pit is great,” Andreas commented. The band also played “Corrupted,” reminding us of the immense, sometimes forgotten, baggage that the band carries in its discography.
“Machine Messiah,” with guitar playbacks in the background, leads the band into the track that marked Sepultura's rebirth, coinciding with the release of their self-titled album. What wasn't playback was Derrick's clean vocals, which showcased a very powerful timbre. And here's the twist: it wasn't playback on the guitars – the guitar tech participates in the song discreetly, from the side of the stage. Personally, I think it's wrong not to publicly thank the supporting musician. After all, the song wouldn't sound as good without him.
“Hey Porto Alegre?”, Derrick calls out, “Let’s play a classic Sepultura song, a B-side”. “Infected Voice” takes the nostalgic fans to another classic, this time from the album Arise . Following that, “Agony Of Defeat”, track , allows Derrick to explore the lower registers and deliver a masterclass in versatility and interpretation – an intense track, with a closing worthy of one of the most active classic bands of its generation.
“Refuse/Resist” swept through every block of Porto Alegre's North Zone, in an almost religious frenzy. The musicians took a break for a brief (and always welcome) improvisation session, and with a definitive performance of the anthem “Arise,” the band left the stage at 10:30 PM.
What can be said about Eloy Casagrande? Nothing that isn't already known. The guy is more visceral than ever, combining technique and violence and creating art point-blank in front of everyone who appreciates speed, breakdowns, and intelligent percussive lines. There's a lot of joking about Sepultura being Eloy's backing band. It's a mean joke, but it's a fact that the band wouldn't enjoy so much comfort and peace of mind, and wouldn't convert that into high performance and improvement of their own discography, if they didn't have a musician as reliable and fearless as him.
During a short break to catch their breath, the band came back to close the party with "Ratamahatta" and the iconic "Roots Bloody Roots," a moment of absolute surrender from the audience. The band said goodbye with their spirits sky-high, and their return is already eagerly awaited by the entire city.
It filled me with satisfaction to see that Sepultura is freer from the past than ever, valuing its post-96 discography, showcasing relevant music, and getting its house in order. The band, which went through many difficult times reclaiming its identity, is now putting on the biggest heavy metal show in Brazil.
Our contributor Alessandra Felizari was also at the event and captured the evening. Check it out below.
