Political Or Musical, Susana Baca Masters Any Stage

By Kim Bellware in Arts & Entertainment on Aug 30, 2011 9:00PM

Singer Susana Baca has few equals when it comes to laurels (she’s a Grammy winner) and influence (she’s the new Culture Minister of Peru). During her Saturday performance at the Mayne Stage, Baca proved despite her impressive credentials, it’s her elegant, powerful alto and near-magic performing style that sets her apart.

Before she was given her cabinet post by newly-elected President Ollanta Humala in July, the accomplished musician explored her Afro-Peruvian heritage in a body of work spanning more than two decades. Her assignment as Culture Minister makes her the the first black cabinet minister in Peru’s history, an honor that makes Baca’s artistic identity as an ambassador of her people's little-known culture even more significant.

But where some artists could take that role and make music that, rightfully so, reflects the heavy solemnity of her people's history--one that includes slavery, marginalization and struggle--Baca beautifully celebrates her heritage with a lightness and warmth that draws listeners close without trivializing its history.

For her hour-long set, Baca blended an array of styles and instruments from traditional Peruvian music, African rhythms and Spanish-Gitano elements. Backed by musicians on the electric upright bass, cajón (a percussive wooden box), violin, guitar and African drums, Baca danced quick flamenco steps, singing with occasional call-and-answer backup.

Baca mostly stuck with songs form her recent release, Afrodiaspora, in which she balanced robust but wrenching tracks like “Molino Molero” (“Crushing Mill”) with the mellower "Poema" ("Poem"). Baca, who addressed the crowd in Spanish all evening, tried her hand at English during a cover of the Meters' "Hey Pocky Way" during which she was joined onstage by Chicago Blues harp player Billy Branch. Even when covering someone else's songs, Baca's artistic fingerprints are evident all over thanks to her steady energy and gentle-but-firm mastery of her vocal range.

Whether singing with the light timbre of a much younger vocalist or a thicker, silky alto, Baca's vocals were effortless. Her singing perhaps looks (and sounds) so easy because as a performer, Baca is rarely still for more than a minute. When she's not lifting her palms skyward and flowing with the music, she's swirling edges of her gossamer robe across her body or over her shoulder. Especially moving is how after each song Baca reached out to a member of her band that played a key part and tenderly grasped his or her hand in gratitude.

Baca's performance also moved the crowd in a way we don't always see. The audience seemed not just adoring of Baca, but grateful, with fans blowing emphatic kisses as she beamed onstage.

Between her new high-profile cabinet position and stellar new album, we hope Baca's fan base expands well beyond "World Music" listeners and into an audience that's as large and varied as Baca's gifts as an artist.