Text by Marcelo Gomes
The legendary Jethro Tull finally returned to Brazil. After postponing their 2020 tour due to the pandemic, the band returned to the country for a series of shows with their Rokflote Tour 2024 , which passed through Porto Alegre on the 10th, Curitiba on the 12th, and concluded in São Paulo. The performance took place at Vibra São Paulo, which was adapted into an amphitheater with all seats open, and most sections were sold out.
Before the show, a notice was displayed on the screens stating that photos and videos would not be allowed during the performance. The justification was that this could distract the band. Somewhat reluctantly, almost everyone present respected the rule, and anyone who dared to pull out their cell phone was approached by a security guard. I've been to a few shows, and this was the first time this happened. I confess it's a strange feeling, but if it's for the sake of the experience, it's all good.
British punctuality was not upheld this time. A 20-minute delay left the audience even more anxious. It was 9:20 PM when Ian Anderson (vocals/flute), accompanied by David Goodier (bass), John O'Hara (keyboards), Jack Clark (guitar), and Scott Hammond (drums), took to the stage at Vibra São Paulo to deliver a journey through the history of Jethro Tull .
The journey began with “My Sunday Feeling,” followed by “We Used To Know,” in which Anderson made a point of highlighting the similarity to the Eagles ,” especially in the guitar solo. It's worth remembering that the Eagles' song was released much later, in 1977, and it does indeed have that similarity.
Leaving comparisons aside, they played another classic, "Heavy Horses." With his usual sarcasm, Ian said that "Weathercock" is about a guy who lives on his roof telling people what the weather will be like. The audience, comfortably seated in their seats, remained well-behaved, limiting themselves to applauding at the end of each song.
With a setlist previously focused on their early career, Jethro Tull took a leap forward in their history and began exploring material from the 90s onwards. This led to “Roots To Branches”, “Holly Herald”, “Wolf Unchained”, and “Mine Is The Mountain”. The band demonstrated that they haven't lost their essence in their more recent compositions; Anderson's unmistakable flute is still present amidst the progressive rock with hints of folk, recapturing the magic of their early albums.
Lead singer Ian Anderson announced that the first part of the performance would end with Johann Sebastian Bach's "Bourrée in E Minor. The Jethro Tull adaptation, recorded in the late 1960s, received a live version full of improvisation and virtuosity, which was greatly celebrated by the fans. Amidst thunderous applause, Ian bid farewell with that iconic pose on one leg, to the delight of everyone.
After a 15-minute intermission, the second part began with “Farm On The Freeway,” and once again, warnings about the restriction on cell phones and photography were displayed. At that moment, everything started to make sense. People forgot their devices, which ended up promoting a true immersion in the show. Much more attentive to the performance and the synchronized images on the screens, the fans lived a unique experience. I'm not against filming or taking photos, but what was noticeable is that cell phones distract us and take away our focus at certain moments.
The journey through the vast repertoire continued with "The Navigators," and not even the spotlight on the audience during "Warm Sporan" distracted the crowd. Ironically, Ian says that "Mrs. Tibbets" is about Paul, a World War II pilot who dropped bombs and advises his mother, Mrs. Tibbets, not to have any more children. The images on the screens depicting the war prompt a reflection on how devastating it is and how it should never be repeated. Incidentally, the inclusion of this song in the setlist is quite fitting, especially in today's world.
The final part of the show featured “Dark Ages,” “Aquadiddley,” and, of course, “Aqualung,” arguably the band's greatest classic. Perhaps the only negative point of the performance was the new arrangement the song received. Not that it was bad, far from it, but it significantly altered the original composition, which has memorable riffs and parts. The extended version only brought back its main riff in the final moments of its performance, which drove the audience wild. The end was approaching, and the farewell was with another classic, “Locomotive Breath.”
The musicians' positioning on stage gave the impression that they were on the tracks projected onto the screens, masterfully concluding this magical journey through the history of Jethro Tull. Ian Anderson bids farewell with his legendary pose, once again immortalizing this night forever.
READ ALSO: Jethro Tull in Curitiba, a night of extreme immersion in progressive rock
