Concert Review: Mireya Ramos – Freida Margolis June 12, 2021

It’s not often that you can stroll to a local bar in Grey Lynn and hear a performance by a Grammy nominated singer who combines deep musical skills with an ability to create friendships and community with others. But on Saturday night Freida Margolis hosted Mireya Ramos and band for a breathtaking vocal performance and outstanding musicianship that provided warmth for everyone there on a cold winter’s night.

Ramos, the Puerto Rican raised singer and violinist, and her partner Andy Averbuch came to New Zealand in March 2020 for a performance at WOMAD for her all female alternative Mariachi band Flor De Toloache. With Covid badly hitting their home of New York Ramos and Averbuch decided to stay on in New Plymouth whilst the rest of the band left.

Their time in New Plymouth led them to connect with many local musicians before expanding their network to Wellington and more recently to Auckland. This has served them well as on Saturday night they were able to perform with four great musicians tucked closely together in a corner of the Freida Margolis bar. Ramos sung and played a five string violin while Averbuch was on guitar. They were joined by Dr Mark Baynes on keys, Lance Bentley on drums and Alex Griffith on bass guitar. On occasions, Marcelo Valencia, who was already working as the sound engineer and videographer of the gig, provided additional hand percussion.

Good words had clearly got around about Ramos as this was the most packed I have seen Freida Margolis. Inside the bar there were no spare seats and little standing room which meant the crowd overflowed to the outside area. There were two sets to the show, with each set lasting about one hour. Throughout the sets there were re-worked cover versions mixed with original songs by Ramos or by her family and friends.

The first song of the night was the mainly instrumental original song Beauty Free, its gentle drum introduction and latin rhythms showcased Ramos’ vocals. Typically the early songs had a latin jazzy feel with the brushed drums interacting with the keys to set the groove. On songs such as Dos Gardinias, well known from Buena Vista Social Club, Ramos’ singing and violin playing took turns to show their range. A stand out in the first set was the significantly reinvented cover of Radiohead’s High and Dry on which Ramos vocal abilities were used to stunning effect.

Following a wonderfully subdued version of Ramos’ Ella Fitzgerald favourite, Reaching For The Moon, they closed out of the first set with Fever. The first set had showcased a jazzy repertoire and each musician had demonstrated their skills both individually and collectively. The upbeat latin of the closer, Fever, set the tone for the dance orientated carnival of music of the second set.

After a twenty minute break the second set kicked off with the folky Dicen. This had a repeated “aye aye aye” refrain that the audience were encouraged to join in with. Audience participation became a key ingredient of the energetic second set as songs were stretched out in distinctly Latin styles over rhythms locked down by the keys and drums.

For Bésame Mucho Ramos brought on stage the singer Kim Carr, who she introduced as her first and very good friend in New Zealand. Over the gentle shuffle of drums, guitars and keys they took turns to sing verses and duet on the choruses.

Nunca Te Voy a Olvidar was introduced as a Venezuelan song that is about your own country, missing it when you are away overseas and how you never forget your culture. Clearly these messages had rung true for Ramos in her current circumstances. The musicians took the song off in many different directions and by this stage an improvised outdoor dance floor was packed. There was also much dancing at, and behind, the bar. These were the only places inside where you could move.

During the second set songs were stretched and manipulated into new, lengthy shapes. In particular the original song Climbing Fences, written by her cousin in response to the Black Lives Matter movement and, the set’s high-spot, a version of Gnarls Barcley’s Crazy that ran to at least a dozen minutes. During Crazy Griffiths’ bass playing was showcased as he picked, strummed and slapped his bass to propel the song onwards. Ramos sat down so we had a better chance to view his expertise. Throughout the sets the dynamic playing of the band and their ability to raise and lower the tempo had created a consistent sound despite the variety of sources of the songs.

In her time in New Zealand the talented and charming Ramos has recruited well to build her band and community. Once the gig had ended she and her warm friends were happy to chat and teach dance moves to those still in the bar. Over the two sets Ramos and band had played music that drew on many latin styles with expertise, verve and fun. It was a great reminder of the power of music to bring people together without ignoring the challenges of the world today.

Ramos and Averbuch are planning to return to New York soon. To save yourself following them there make sure you get to see them live before they leave and look out for the crowd funded solo album due to be released in August.

John Bradbury

Click on any image to view a photo gallery:

Set One

Beauty Free

Este Vacio

High and Dry

Para Mi

Blue Skies

Dos Gardinias

Reaching For The Moon

Fever

 

Set Two

Mi Mayor Fortuna

Bésame Mucho

Nunca Te Voy a Olividar

Climbing Fences

Crazy

Sentimental

Besos

A Night in Tunisia

Click here for tickets to see Mireya Ramos in Hastings