Royal Albert Hall, London

Gilberto Gil, the Brazilian musical polymath, bid farewell to the city that was once his refuge during political exile with a captivating performance that traversed bossa nova, tropicália, reggae, and funk. At 81 years old, Gil has led a life as diverse as his music, evolving from a political prisoner and exiled psych-rock icon to a reggae pioneer, cabinet minister, and even a reality TV personality. The English-speaking world truly lacks an equivalent to this multifaceted artist.

Gil’s recent show in London, a place he regularly graced and once called home during his exile between 1969 and 1972, was a poignant farewell to the city. In July 2022, his London dates were in the lead-up to a tense Brazilian election, but this time, the atmosphere was far more jubilant. Accompanied by a four-piece band that included two of his children and two grandchildren, Gil took the audience on a musical journey.

Spanning six decades, Gil’s extensive repertoire meant that only six songs from the previous year’s performance were repeated. The Brazilian expatriates in the audience erupted with enthusiasm when Gil delved into reggae, a genre he was introduced to while living in London in the early ’70s and “eating Jamaican food at the Mangrove.” He blended it seamlessly with Brazilian music, dancing through “The Girl From Ipanema” with his granddaughter Flor in the role of Astrud Gilberto, presenting a bossa nova rendition of “No Woman No Cry,” and interweaving his 1976 ballad “Esoterico,” originally written for Gal Costa, with Bob Marley’s “Jamming.”

For the purists, the first half of the performance featured Gil seated with a nylon-string classical guitar, delivering stripped-back versions of early sambas, including “Expresso 2222,” “Viramundo,” and a delightful rendition of Edu Lobo’s “Upa Neguinho,” all enriched with Gil’s audaciously jazzy chords. Gil shared that he penned the exquisite, lovesick “Ladeira da Preguiça” in Hampton Court in 1971 and transformed his 1984 synth-pop anthem “Tempo Rei” into a sparse samba, with 4,000 Brazilians joining in the chorus. Tropicália also made an appearance, with a funky rendition of “Cérebro Eletrônico” from 1969 and a hypnotic, motorik version of “Back to Bahia” from 1972.

However, it was the hits that truly ignited the crowd. His 1981 disco hit “Palco” was transformed into a sing-along folk-funk, complete with a nifty, Steely Dan-style guitar solo from his son Bem. “Andar Com Fé” from 1982 transitioned into South African jit-jive, while the 1969 pop art samba anthem, “Aquele Abraço,” had Gil gracefully hopping across the stage, reminiscent of James Brown. This octogenarian artist still exudes vitality and charisma, leaving the audience with the hope of many more shows to come.