“This has been a long time in the making,” Lincoln Center’s Meera Dugal told an ecstatic crowd there Thursday evening. “Tonight you are in for a treat, a powerful and soulful voice.” Then she let Edna Vazquez’s charismatic presence and slinky, thoughtful, psychedelic, often haunting songs speak for themselves.
Maybe the singer/guitarist’s stunningly eclectic blend of styles mirrors her Mexican ancestry, considering that Mexico is every bit as much of a melting pot as the US. “The Mexican government is not so different from this one,” she wryly confided three songs into her set. And then spun through the rapidfire chord changes of a tune that could be characterized as noiriachi…or the great lost Arthur Lee hit from 1966. Did he rip a mariachi riff for the ominous scamper of 7 and 7 Is…or did Vazquez hear that and decide to take that idea to the next level, with a message about freeing ourselves from the distraction that keeps us from joining forces and overthrowing the forces of evil? Or did each artist come up with those ideas completely independently?
Playing acoustic guitar and singing mostly in Spanish in a formidable, intense mezzo-soprano that often brought to mind Nina Simone, Vazquez and her five-piece band opened with a psychedelic rock number that put a bouncy, syncopated spin on the old Status Quo hit Pictures of Matchstick Men, keyboardist Gil Assayas adding extra menace with his downwardly cascading glockenspiel lines. Then the group – which also included William Marsh on lead guitar, 3 Leg Torso’s Milo Fultz on bass and Jesse Brooke on drums – launched into the first of several slinky numbers that sounded like Love teleported to Mexico City, 1967.
Fultz switched from upright to Fender bass for Do You See, by Vazquez’s old band No Passengers, a kinetic, funk-tinged number with Lynchian lead guitar and keys and a big powerpop chorus – the Motels gone south of the border. Marsh played allusively uneasy blues on a big anti-globalization anthem; Assayas’ brooding organ and evilly starry keys flickered through the noir new wave number that followed.
From there the band pounced their way through muted trip-hop about the serendipities of meeting random strangers, then driving backbeat rock, a mashup of Cuban rhumba and noir Mexican bolero, and a brisk new wave rock number- is there any style in Spanish or English that this woman can’t write in?
She aired out the big a-cappella intro to Sola, the night’s most dynamic and dramatic anthem, with a dark gospel-flavored intensity that built to righteous 60s soul rage, When she finally got to the cumbia number that the dancers out on the floor had seemed to be waiting for, it turned out to be a cheery hybrid of vintage soul and Peruvian psychedelia.
An ecstatic crowd called her back for three encores: an understatedly haunting, spare solo acoustic take of the Mexican folk classic La Llorona, a stately, soaring mariachi tune with the band going full steam and then an imploringly resonant soul ballad, which Vazquez sang in English.
Vazquez and band are at the Kennedy Center in Washington, DC tomorrow night, Nov 6 at 6 PM; the show is free. And the next concert at Lincoln Center’s atrium space just north of 62nd Street is this Friday, Nov 10 at 7:30 PM, with Afro-Cuban percussionist Roman Diaz joining forces with the Brooklyn Raga Massive to reinvent classic Indian themes. This show is also free – the earlier you get there, the better.