La Santa Cecilia Bring Their Individualistic, Eclectic Latin Rock to Highline Ballroom
Marisol Hernandez, frontwoman of La Santa Cecilia, figured out that the crowd at their Summerstage show a couple of months ago might not have them figured out. She shrugged and grinned. “We like a lot of stuff, we can’t figure out what this band’s about.” Which is probably just as well, considering how intuitively well they played every style they tackled. The group didn’t waste any time getting the party started with a slinky, minor key psychedelic cumbia and followed that with a reggae-tinged number. The next tune rocked harder, guitarist Marco Sandoval firing off a frenetically noisy solo that built to a wickedly sarcastic, dismissive peak. Then they tackled the old Mexican folk standard La Morena and did it as pretty straight up son jarocho folk.
That diversity is what sets so many of this era’s latin rock bands apart from their counterparts in the indie rock twee-topia. Where the pretty boys of Bushwick and Lake Wayzata all try to sound the same, the crews from Corona and East LA and south of the border all want an individual style and will play anything that makes them stand out. La Santa Cecilia are no exception. The rest of their energetic set featured a couple of bouncy minor-key Mexican border rock tunes, and a Freddy Fender-ish Tex-Mex reflection on taking one’s time with a relationshiop in the Facebook era. On that one, Marisol went off mic and wowed the crowd with her powerful alto voice. Then Sandoval dedicated a droll, Beatlesque psych-rock anthem titled Campos de Fresas (whose original English version you might know) to the world’s undocumented farm workers, capping it off with a rich, rain-drenched solo played through a vintage chorus pedal just as George Harrison did on the original. La Santa Cecilia return to New York with a show at Highline Ballroom on Sept 18 at 8 PM: $15 adv tix are highly recommended.