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Wed. October 25.2000 3:00 AM EDT |
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Jaguares, Julieta Venegas Lead Rock En Espanol RevolucionLa Gusana Ciega, Lysa Flores, Jumbo add to unusually pop-oriented show. by Mikel Toombs |
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Jaguares singer/guitarist Saúl Hernández possesses a mystical edge reminiscent of Jim Morrison. ( ) |
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SAN DIEGO — This is one revolution you can sing along to. Revolución 2000, the five-act rock en español tour fronted by the Mexican band Jaguares, led with melody Friday night at the San Diego State University
The headlining Jaguares, their country's most respected rock band, inspired sing-alongs even though their epic songs relied more on twin guitar leads than pop hooks. And Monterrey's often irreverent Jumbo managed to Squeeze a "yeah, yeah, yeah" or two into their post-punk approach. Yet Revolución had an edge that was more rock than pop, only "there was probably less yelling than on other tours," said Jumbo keyboardist Eddie, who did manage to get in some fine screaming on his band's "Monotransitor." Queen Of The Night This night, however, belonged to Julieta Venegas, who was rock, pop, South American jazz and musical theater all rolled into one slim package. This was a semi-homecoming for Venegas, who grew up just across the border, in Tijuana. In attendance was a good portion of her family, the older portion of which didn't seem to know what to make of her performance. And it was a performance. Venegas strutted the cabaret moves that are implicit in her current album, Bueninvento, as she moved casually from playing keyboard on the title track to accordion on "Oportunidad" and "Come Se" to guitar on "Amores Perros." On the last, the two-part theme to the acclaimed, three-chapter Mexican film of the same name (translated loosely as "Love's a Bitch" for U.S. consumption), she pointedly explored the act of betrayal, one of her favorite themes, along with invention and reinvention. While Venegas, as with the other supporting acts, was limited to 30 minutes onstage, the Jaguares turned in a typically generous hour-plus set, even going beyond a "strict" venue curfew. The outdoor arena's neighbors may not have been happy, but the band's fans were clearly ecstatic as singer/guitarist Saúl Hernández led the Jaguares on the likes of "No Dejes Que..." Hernández's open-ended lyrics have cosmic overtones, and his image a mystical edge rivaling that of the late Jim Morrison — the Doors tape that preceded the Jaguares' appearance was not needed to point that out — but in concert Hernández is entirely unaffected. "This shows there is much music in Mexico," said Hernández of the Revolución bill, and welcomed his own band's followers with open arms and, at one point, an atypically funky dance move. That moment was also the only one where the ever-in-flux Jaguares, who have replaced a third guitarist with an extra percussionist, approached the Santana sound their current lineup might suggest. La Gusana Ciega (The Blind Worm) revived styles that predated even Santana, as they used "Peter Gunn" guitar runs to back their Beatles-inspired approach. This would-be Fab(uloso) Four delighted when they stuck to a basic poder pop attack, drifted when they re-explored the Beatles' more psychedelic meanderings. English Invasion Influences Jumbo betrayed some English Invasion influences, as on the Kinks-tinged heavy rock of "Monotransitor" (RealAudio excerpt). But their melodic rock borrowed more from the sheets of guitar noise generated by My Bloody Valentine. The quintet also displayed the sense of humor one would expect from a band named after a record-holding, 100-pounds-plus 3-year-old. Jumbo welcomed "the opportunity to share the stage with some of the most important rock bands that are around now, and to tour the United States," guitarist Alex said after the show. "We have never been able to do this on our own." Even Flores, the sole U.S. representative on the tour, might have agreed. With her triple-A credentials — actress ("Star Maps"), activist, artist — Flores has had to parcel her time as a musician, and that was made clear by a few awkward moments in her opening set. However, Flores' ambitious approach, with folk and jazz elements recalling Joni Mitchell, produced many low-key rewards, most notably her own impassioned song of betrayal, "En Que Te Falté" (What Didn't I Do for You). Revolución 2000 tour dates: Oct. 24; Dallas, Texas; Liquid Oct. 25; Houston, Texas; Metropolis Oct. 26; San Antonio, Texas; Observatory Oct. 28; El Paso, Texas; Coliseo Oct. 29; Tempe, Ariz.; Club Rio Oct. 31; Las Vegas, Nev.; Hard Rock Hotel — The Joint Nov. 1; Universal City, Calif.; Universal Amphitheatre Nov. 4; Redwood City, Calif.; The Fox Theatre Nov. 5; Salinas, Calif.; Sherwood Hall Nov. 6; San Francisco, Calif.; The Fillmore Nov. 8; Fresno, Calif.; Rainbow Ballroom Nov. 12; Mexico City, Mexico; Faro Sol |
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