Text by Patricia C. Figueiredo
The Covid-19 pandemic caused the postponement of numerous shows in recent years, and even in 2024, we are still catching up on events that should have taken place four years ago. This is the case with Jethro Tull , who were finally able to return to Brazil to perform the shows rescheduled since the beginning of the pandemic, including the city of Porto Alegre. With two new albums released since then, the 7 Decades celebrates the career of the legendary progressive rock band from its beginnings in 1968 to the present day.
The opening act was musician Luciano Reis and his Rock Concert . He performed a short set with violin versions of great rock songs, such as "Kashmir" by Led Zeppelin , "Nothing Else Matters" by Metallica , and "Highway to Hell" by AC/DC . The audience's reception was very positive.
Before the Jethro Tull show, the audience was informed that the use of cell phones and cameras was prohibited, a requirement imposed by Ian Anderson , who justified it by saying that the band and even people in the audience are negatively affected by the distraction caused by these devices. Some people tried to circumvent the restriction and were even approached by security to put away their devices. In general, the audience respected and cooperated with the measure.
After moments of great anticipation, Ian Anderson and his band took the stage to the sound of "My Sunday Feeling," from the band's first album, *This Was* , released in 1968. Anderson appeared with his characteristic dancing and slightly bouncy steps. The audience, which until this moment occupied about half the seats in the Araújo Vianna Auditorium, applauded and cheered at the musician's appearance. His voice remains impeccable, and his smooth timbre is comforting. Together with musicians Jack Clark (guitar), David Goodier (bass), John O'Hara (keyboards), and Scott Hammond (drums), he began to shape the show.
Next, “We Used To Know” set the tone for nostalgia, reinforced by old images on the screen of Anderson at concerts and two very sentimental solos by Jack Clark. Clark joined the tour lineup about a month ago, replacing Joe Parrish , who decided to leave the group after four years.
The feeling wasn't that of being at a show by a major progressive rock band, but rather a classical concert, with an air of reverence. Anderson briefly commented on the songs in the setlist before each performance, and the musician doesn't deviate from the script. Throughout the evening, he struck his acclaimed elegant flautist pose, with one leg bent and one arm raised. The audience, although enthusiastic, was more restrained and admired the artistry on the minimalist stage, with only a few spotlights, the screen in the background, and an optimized space allowing the musicians to be closer to each other. This production highlights the harmony between the current band members and proves that the group is there with the sole objective of offering an organic musical experience to the audience.
The show continued with a mix of songs from different decades, including “Heavy Horses” and “Weathercock,” both from the 1978 *Heavy Horses The Zealot Gene*. For those who say rock bands don't play flutes, “Roots to Branches” from the 1995 album of the same name and the more recent “Wolf Unchained” from the 2023 album *RökFlöte * added more weight to the setlist. To finish the first part of the night, we also had the classic “Bourrée in E minor,” a cover of Johann Sebastian Bach .
After a brief, traditional fifteen-minute intermission, the band resumed the show with "Farm on the Freeway." During "Warm Sporan," we noticed how relaxed Anderson was on stage. The musician sat comfortably on the edge of the drum stand while playing his flute. This energy emanated from the stage to the audience, and the performance conveyed tranquility and lightness even with songs that the vocalist himself called depressing, referring to the tracks "Mrs. Tibbetts" and "Dark Ages."
Despite the great show so far, the experience wouldn't be complete without Jethro Tull's biggest hit. John O'Hara's brief keyboard introduction was enough to excite the audience in a way that hadn't happened before that night. We can say that the instrumental "Aquadiddley" is a preface to "Aqualung" in the show, building anticipation, a tension where the spectator anxiously awaits the moment when they can enjoy this 1971 classic, until the instrumental track instantly connects with the verse "sitting on a park bench," a chilling second that drove the audience wild. Unfortunately, the live version ended up being shorter and wasn't exactly the sing-along moment that was imagined.
Before the final song, the use of cameras and cell phones for photos and video recording was finally allowed. The movement was widespread, and the auditorium turned into a sea of cell phones pointed at the stage (exactly what Anderson wanted to avoid throughout his performance). People even stood up to fully enjoy "Locomotive Breath," the last classic of the night, also from 1971, the golden era of Jethro Tull. And after about two hours, the show came to an end.
I particularly missed "Crossed-Eyed Mary," a song that sometimes makes it onto the setlist, sometimes it doesn't. Unfortunately, we weren't treated to it in Porto Alegre; however, the band still delivered great songs performed masterfully live.
On the way out, some people commented that this might have been our last Jethro Tull show, perhaps due to Ian Anderson's advanced age, even though the band has come to Brazil several times. Perhaps this is a common feeling for fans who are also seeing time pass alongside their idols, and it seems like each time will be the last, but Jethro Tull proved to be very much alive with their seven decades of success. The show was exciting and gave me goosebumps several times. If someone went to the show knowing only two or three of the band's songs, I guarantee they left much more impressed than they imagined.
READ ALSO: Jethro Tull Interview: Ian Anderson talks about coming to Brazil and the new album
