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October 3, 2024
Toshio Matsuura | Gilberto Gil: The Euphoria of Music, Transcending 30 Years
MUSIC | MUSIC FOR LIFE
A special edition of MUSIC FOR LIFE. I visited Takasaki, Gunma Prefecture, to see the final performance of Brazil's treasure Gilberto Gil, who returned to Japan for the first time in 16 years on September 29th. How was Gil, whom I last saw 30 years ago in London? This is a live report.
Text by Toshio Matsuura
June 1, 1994, Royal Albert Hall, London. That night, four Bahians—Gilberto Gil, Caetano Veloso, Gal Costa, and Maria Bethania—along with 50 members of Mangueira, enveloped the 5,000-strong audience with overwhelming energy. Their music made the body sway and the heart tremble deeply.
A few days prior, in the same London, we were recording our second album, “No Sound Is Too Taboo.” However, the three-week stay and unfamiliar surroundings not only brought fatigue to the three of us but also sparked conflict over creative direction. Clashes of ideas were inevitable, and a tense atmosphere soon began to pervade. Yet, our passion for music never waned, driving us forward. We managed to overcome the difficulties through vigorous debate, and finally completed the album in a way that satisfied everyone.
1st June 1994, Royal Albert Hall, London. That night, four Bahians - Gilberto Gil, Caetano Veloso, Gal Costa and Maria Bethania - and 50 members of Mangueira filled the 5000-strong crowd with overwhelming energy. Their music shook the body and shook the heart deeply.
A few days earlier, we had recorded U.F.O.'s second album, No Sound Is Too Taboo, in the same London. However, the three-week long stay and the unfamiliar surroundings not only caused fatigue for the three of us, but also conflict over the creative direction. Clashes of ideas were inevitable and the atmosphere soon became acrimonious. Nevertheless, our passion for the music never cooled, and despite our differences of opinion, we managed to overcome the difficulties and finally completed the album in a way that was acceptable to all of us.
A few days prior, in the same London, we were recording our second album, “No Sound Is Too Taboo.” However, the three-week stay and unfamiliar surroundings not only brought fatigue to the three of us but also sparked conflict over creative direction. Clashes of ideas were inevitable, and a tense atmosphere soon began to pervade. Yet, our passion for music never waned, driving us forward. We managed to overcome the difficulties through vigorous debate, and finally completed the album in a way that satisfied everyone.
1st June 1994, Royal Albert Hall, London. That night, four Bahians - Gilberto Gil, Caetano Veloso, Gal Costa and Maria Bethania - and 50 members of Mangueira filled the 5000-strong crowd with overwhelming energy. Their music shook the body and shook the heart deeply.
A few days earlier, we had recorded U.F.O.'s second album, No Sound Is Too Taboo, in the same London. However, the three-week long stay and the unfamiliar surroundings not only caused fatigue for the three of us, but also conflict over the creative direction. Clashes of ideas were inevitable and the atmosphere soon became acrimonious. Nevertheless, our passion for the music never cooled, and despite our differences of opinion, we managed to overcome the difficulties and finally completed the album in a way that was acceptable to all of us.
Perhaps sensing our state, Gilles Peterson, the A&R at Talking Loud responsible for overseas releases, invited the three of us to the concert. The show opened with Gal Costa and Maria Bethania singing Gilberto Gil's “Esotérico,” accompanied by Caetano Veloso and Gil. It then unfolded into a dazzling and rapid succession of performances, with the four artists taking turns to sing their own songs while also interacting with each other.
Midway through, during “Aquarela do Brasil,” often called Brazil's “second national anthem,” the audience rose to their feet, and a moment arrived when the entire hall became one. The concert concluded with the memorable “O Seu Amor,” a song deeply cherished by the four artists.
That night, the euphoria brought by the overwhelming power of music seemed to wash away all the lingering tensions we held. After the performance, we spontaneously embraced each other and exchanged words of gratitude. In that moment, we reaffirmed the miracle that music can bring.
Thirty years have passed since then. Gilberto Gil, who has announced his retirement from live performances in 2025, made his first visit to Japan in 16 years. The Tokyo show was already sold out, with only two performances remaining in Kyoto and Takasaki. After some deliberation, I decided to attend the final show of the tour in Takasaki, drawn by my interest in the venue and the fact that Gunma Prefecture is known for its Brazilian community. This journey to witness his performance became an opportunity for me to reflect on the years I have walked alongside music.
Ultimately, this short trip proved to be a moving experience, vividly recalling memories from 30 years ago.
Perhaps because he had seen how we were doing, Talking Loud A&R Gilles Peterson, who was in charge of releasing our work overseas, invited the three of us to this concert. The concert opened with Gal Costa and Maria Betania singing Gilberto Gil's ‘Esotérico’, accompanied by Caetano Veloso and Gil, and continued in a spectacular and dizzying beautiful, with the four of them performing their own songs, while other artists took turns to get involved. The show continued.
During ‘Aquarela do Brasil’, also known as Brazil's ‘second national anthem’, the audience stood up in unison and the entire hall was enveloped in a single moment. The closing song was ‘O Seu Amor’, a memorable song for the four artists.
The euphoria brought about by the overwhelming power of the music that night seemed to wash away all the rancour we had been carrying around. After the show, we spontaneously hugged each other and exchanged words of gratitude. At that moment, we once again realised the miracle that music can bring.
Thirty years later, Gilberto Gil made his first visit to Japan in 16 years, having announced his retirement from live performances in 2025. The Tokyo show was already sold out and there were only two shows left, in Kyoto and Takasaki, Gunma. After much deliberation, I decided to go to Takasaki, the final show of the tour, due to my interest in the venue and the fact that Gunma Prefecture is known for its Brazilian community. This trip to witness the appearance of the band was also an opportunity for me to reflect on the years I have spent with the music.
As a result, the short trip was a moving one, vividly evoking memories of 30 years ago.
Midway through, during “Aquarela do Brasil,” often called Brazil's “second national anthem,” the audience rose to their feet, and a moment arrived when the entire hall became one. The concert concluded with the memorable “O Seu Amor,” a song deeply cherished by the four artists.
That night, the euphoria brought by the overwhelming power of music seemed to wash away all the lingering tensions we held. After the performance, we spontaneously embraced each other and exchanged words of gratitude. In that moment, we reaffirmed the miracle that music can bring.
Thirty years have passed since then. Gilberto Gil, who has announced his retirement from live performances in 2025, made his first visit to Japan in 16 years. The Tokyo show was already sold out, with only two performances remaining in Kyoto and Takasaki. After some deliberation, I decided to attend the final show of the tour in Takasaki, drawn by my interest in the venue and the fact that Gunma Prefecture is known for its Brazilian community. This journey to witness his performance became an opportunity for me to reflect on the years I have walked alongside music.
Ultimately, this short trip proved to be a moving experience, vividly recalling memories from 30 years ago.
Perhaps because he had seen how we were doing, Talking Loud A&R Gilles Peterson, who was in charge of releasing our work overseas, invited the three of us to this concert. The concert opened with Gal Costa and Maria Betania singing Gilberto Gil's ‘Esotérico’, accompanied by Caetano Veloso and Gil, and continued in a spectacular and dizzying beautiful, with the four of them performing their own songs, while other artists took turns to get involved. The show continued.
During ‘Aquarela do Brasil’, also known as Brazil's ‘second national anthem’, the audience stood up in unison and the entire hall was enveloped in a single moment. The closing song was ‘O Seu Amor’, a memorable song for the four artists.
The euphoria brought about by the overwhelming power of the music that night seemed to wash away all the rancour we had been carrying around. After the show, we spontaneously hugged each other and exchanged words of gratitude. At that moment, we once again realised the miracle that music can bring.
Thirty years later, Gilberto Gil made his first visit to Japan in 16 years, having announced his retirement from live performances in 2025. The Tokyo show was already sold out and there were only two shows left, in Kyoto and Takasaki, Gunma. After much deliberation, I decided to go to Takasaki, the final show of the tour, due to my interest in the venue and the fact that Gunma Prefecture is known for its Brazilian community. This trip to witness the appearance of the band was also an opportunity for me to reflect on the years I have spent with the music.
As a result, the short trip was a moving one, vividly evoking memories of 30 years ago.
The venue was a wonderful theatre, cultured, modern, and simple, reminiscent of those found in Europe.
In a relaxed atmosphere with a family band comprising guitar, bass, keyboard, and drums, the live performance began with “Expresso 2222,” a song that holds particular significance for me. What stands out most is the 1994 MTV Unplugged live version, rather than the original. As this memory was evoked, Gil appeared on stage, seated, beginning to sing softly.
The first half progressed calmly. After a solo midway, Gil stood, switched guitars, and occasionally took light steps as he engaged the audience. His movements and singing voice were filled with an energy that belied his 82 years. Alongside his own compositions, he wove a musical narrative reflecting his long career, incorporating songs by Gal Costa, Jobim, Elis Regina, Dorival Caymmi, as well as Bob Marley and Henry Mancini.
The impressive stage performance, lasting over two hours, reached a moving climax with the 1978 classic “Toda Menina Baiana.” The entire venue became one, with people dancing, singing, and sharing the moment, immersed in Gil's music. His nimble guitar playing and powerful vocals resonated, filling the stage with an energy that seemed to defy the passage of time.
At that moment, the audience and artist became completely united, and I was once again reminded of the power of music. This was truly a finale befitting a grand occasion. Enveloped once more in the same intense euphoria as 30 years ago, I, too, was reliving the musical journey alongside his singing.
After the show, I was told by an official that the Takasaki performance had been the most exciting of the entire tour, which moved me even more deeply.
Before heading home, I tried the local specialty spaghetti, recommended by the theatre staff. Takasaki is apparently famous for its spaghetti, and the extremely spicy version I ordered was even hotter than I had anticipated. It was quite amusing that the tears I had held back during the performance unexpectedly welled up.
The venue was a wonderful theatre, as cultured, modern and simple as you would find in Europe. In a relaxed atmosphere with a family band consisting of guitar, bass, keyboard and drums, the show began with Expresso 2222, a song that holds a special place in my heart. It is the 1994 MTV Unplugged live ‘Unplugged’ version, rather than the original version, that particularly sticks in my mind. The memory was evoked and Gil was on stage as she sat back in her chair and began to sing softly.
The first half of the show progressed quietly, and after a solo midway through, Gil stood up on his own and switched guitars, occasionally taking light steps as he encouraged the audience to join in. His movements and singing voice were filled with an energy that made it hard to believe he was 82 years old. In addition to his own songs, he weaved a musical narrative that looked back over his long career, mixing Gal Costa, Jobim, Elis Regina, Dorival Caymmi, Bob Marley and Henry Mancini.
The impressive stage performance, which lasted over two hours, reached a moving climax with the 1978 classic ‘Toda Menina Baiana’. The entire audience became one, dancing, singing, and sharing the moment together as they were immersed in Jill's music. Jill's lilting guitar and powerful voice echoed through the air, enveloping the stage with an energy that made it seem as if it had not aged a day.
At that moment, the audience and artists were completely united, and I was reminded of the power of music. This was a finale worthy of a grand finale. Once again, I was enveloped in the same intense euphoria as 30 years ago, and together with his voice, I too was reliving the musical journey.
After the show, I was told by a crew that the Takasaki performance was the most exciting of all the performances, which made me even more deeply moved.
Before heading home, I tried a local speciality, spaghetti, recommended by theatre staff. Takasaki is said to be famous for its spaghetti, and the very spicy version I ordered was even spicier than I had expected, and the tears I had been holding back during the performance unexpectedly welled up, which was quite funny.
Gilberto Gil “Aquele Abraço Japan Tour 2024
Sunday 29 September Takasaki City Theatre Grand Hall Gunma
Expresso 2222
Viramundo
Chiclete com Banana
Upa Neguinho
Ladeira da Preguiça
É Luxo Só
João Sabino
Garota de Ipanema
Choro Rosa
Moon River
Tempo Rei
Não Chore Mais (No Woman, No Cry)
Esotérico
Sonho Molhado
Vamos Fugir
Back in Bahia
Andar com Fé
Palco
Aquele Abraço
-Encore-
A Novidade
Toda Menina Baiana
Member
Gilberto Gil (vocals, guitar)
Bem Gil (vocals, guitar, bass)
Jose Gil (vocals, drums)
João Gil (vocals, guitar, bass)
Flor Gil (vocals, keyboard)
In a relaxed atmosphere with a family band comprising guitar, bass, keyboard, and drums, the live performance began with “Expresso 2222,” a song that holds particular significance for me. What stands out most is the 1994 MTV Unplugged live version, rather than the original. As this memory was evoked, Gil appeared on stage, seated, beginning to sing softly.
The first half progressed calmly. After a solo midway, Gil stood, switched guitars, and occasionally took light steps as he engaged the audience. His movements and singing voice were filled with an energy that belied his 82 years. Alongside his own compositions, he wove a musical narrative reflecting his long career, incorporating songs by Gal Costa, Jobim, Elis Regina, Dorival Caymmi, as well as Bob Marley and Henry Mancini.
The impressive stage performance, lasting over two hours, reached a moving climax with the 1978 classic “Toda Menina Baiana.” The entire venue became one, with people dancing, singing, and sharing the moment, immersed in Gil's music. His nimble guitar playing and powerful vocals resonated, filling the stage with an energy that seemed to defy the passage of time.
At that moment, the audience and artist became completely united, and I was once again reminded of the power of music. This was truly a finale befitting a grand occasion. Enveloped once more in the same intense euphoria as 30 years ago, I, too, was reliving the musical journey alongside his singing.
After the show, I was told by an official that the Takasaki performance had been the most exciting of the entire tour, which moved me even more deeply.
Before heading home, I tried the local specialty spaghetti, recommended by the theatre staff. Takasaki is apparently famous for its spaghetti, and the extremely spicy version I ordered was even hotter than I had anticipated. It was quite amusing that the tears I had held back during the performance unexpectedly welled up.
The venue was a wonderful theatre, as cultured, modern and simple as you would find in Europe. In a relaxed atmosphere with a family band consisting of guitar, bass, keyboard and drums, the show began with Expresso 2222, a song that holds a special place in my heart. It is the 1994 MTV Unplugged live ‘Unplugged’ version, rather than the original version, that particularly sticks in my mind. The memory was evoked and Gil was on stage as she sat back in her chair and began to sing softly.
The first half of the show progressed quietly, and after a solo midway through, Gil stood up on his own and switched guitars, occasionally taking light steps as he encouraged the audience to join in. His movements and singing voice were filled with an energy that made it hard to believe he was 82 years old. In addition to his own songs, he weaved a musical narrative that looked back over his long career, mixing Gal Costa, Jobim, Elis Regina, Dorival Caymmi, Bob Marley and Henry Mancini.
The impressive stage performance, which lasted over two hours, reached a moving climax with the 1978 classic ‘Toda Menina Baiana’. The entire audience became one, dancing, singing, and sharing the moment together as they were immersed in Jill's music. Jill's lilting guitar and powerful voice echoed through the air, enveloping the stage with an energy that made it seem as if it had not aged a day.
At that moment, the audience and artists were completely united, and I was reminded of the power of music. This was a finale worthy of a grand finale. Once again, I was enveloped in the same intense euphoria as 30 years ago, and together with his voice, I too was reliving the musical journey.
After the show, I was told by a crew that the Takasaki performance was the most exciting of all the performances, which made me even more deeply moved.
Before heading home, I tried a local speciality, spaghetti, recommended by theatre staff. Takasaki is said to be famous for its spaghetti, and the very spicy version I ordered was even spicier than I had expected, and the tears I had been holding back during the performance unexpectedly welled up, which was quite funny.
Gilberto Gil “Aquele Abraço Japan Tour 2024
Sunday 29 September Takasaki City Theatre Grand Hall Gunma
Expresso 2222
Viramundo
Chiclete com Banana
Upa Neguinho
Ladeira da Preguiça
É Luxo Só
João Sabino
Garota de Ipanema
Choro Rosa
Moon River
Tempo Rei
Não Chore Mais (No Woman, No Cry)
Esotérico
Sonho Molhado
Vamos Fugir
Back in Bahia
Andar com Fé
Palco
Aquele Abraço
-Encore-
A Novidade
Toda Menina Baiana
Member
Gilberto Gil (vocals, guitar)
Bem Gil (vocals, guitar, bass)
Jose Gil (vocals, drums)
João Gil (vocals, guitar, bass)
Flor Gil (vocals, keyboard)
Toshio Matsuura
Formed United Future Organization (U.F.O.) in 1990, releasing five full albums
in 32 countries worldwide, receiving high acclaim.
After starting his solo career in 2002, he has been active as a DJ at clubs and festivals both domestically and internationally.
He also produces events and handles music supervision for sophisticated lifestyle spots
such as hotels, international brands, and Michelin-starred restaurants.
In 2013, he launched the project “HEX,” which disseminates contemporary jazz, releasing the album “HEX” worldwide via Blue
Note Records. In 2018, he released an album from his new project “TOSHIO
MATSUURA GROUP,” featuring young British musicians.
In 2024, his work was re-released on vinyl by Brownswood Recordings in the UK.
In 2024, his work was re-released on vinyl by Brownswood Recordings in the UK.
re-released.
http://www.toshiomatsuura.com
Founding member of United Future Organization (U.F.O.) which was formed in 1990.
The collective established the beginning of Japanese club culture, and released
5 full albums in 32 countries which gained high reputation in 12 years.
After leaving U.F.O. in 2002, he has continued to play as a solo dj at clubs and festivals
internationally and currently produces events and supervises music for notable fashion brands.
He also has produced many remix works of artist in a wide range of genres,
such as James Brown, Astor Piazzolla, Gotan Project, Melanie De Biasio, etc.
In 2013, he gathered talented and forward-thinking artists based in Tokyo to produce
a project called “HEX,” which presents Tokyo’s progressive form of Jazz to the world.
The debut album “HEX” was released from Blue Note Records worldwide.
Recently, his new project "Toshio Matsuura Group" gathered radical musicians from UK
and album was released from Brownswood Recordings 2018.
The album is re-released on double vinyl from Brownswood Recordings in 2024.
His radio show “TOKYO MOON” every Friday 15:00-16:00 (UK) on One Jazz.
http://www.toshiomatsuura.com
https://www.mixcloud.com/toshiomatsuura/
Formed United Future Organization (U.F.O.) in 1990, releasing five full albums
in 32 countries worldwide, receiving high acclaim.
After starting his solo career in 2002, he has been active as a DJ at clubs and festivals both domestically and internationally.
He also produces events and handles music supervision for sophisticated lifestyle spots
such as hotels, international brands, and Michelin-starred restaurants.
In 2013, he launched the project “HEX,” which disseminates contemporary jazz, releasing the album “HEX” worldwide via Blue
Note Records. In 2018, he released an album from his new project “TOSHIO
MATSUURA GROUP,” featuring young British musicians.
In 2024, his work was re-released on vinyl by Brownswood Recordings in the UK.
In 2024, his work was re-released on vinyl by Brownswood Recordings in the UK.
re-released.
http://www.toshiomatsuura.com
Founding member of United Future Organization (U.F.O.) which was formed in 1990.
The collective established the beginning of Japanese club culture, and released
5 full albums in 32 countries which gained high reputation in 12 years.
After leaving U.F.O. in 2002, he has continued to play as a solo dj at clubs and festivals
internationally and currently produces events and supervises music for notable fashion brands.
He also has produced many remix works of artist in a wide range of genres,
such as James Brown, Astor Piazzolla, Gotan Project, Melanie De Biasio, etc.
In 2013, he gathered talented and forward-thinking artists based in Tokyo to produce
a project called “HEX,” which presents Tokyo’s progressive form of Jazz to the world.
The debut album “HEX” was released from Blue Note Records worldwide.
Recently, his new project "Toshio Matsuura Group" gathered radical musicians from UK
and album was released from Brownswood Recordings 2018.
The album is re-released on double vinyl from Brownswood Recordings in 2024.
His radio show “TOKYO MOON” every Friday 15:00-16:00 (UK) on One Jazz.
http://www.toshiomatsuura.com
https://www.mixcloud.com/toshiomatsuura/