Spring: rap, politics and lullabies

A celebration of hip hop in its various forms and geographies. This was the second day of Primavera Sound Porto, when the urban rhythm took over the Parque da Cidade venue, with a line-up that brought together key names from the international scene capable of attracting a young audience attentive to the new voices of the genre. Between fast verses and powerful bass, the day promised a deep dive into rap culture — with Central Cee at the top of the bill and performances by Denzel Curry and Aminé making up the rest of the front line.

But Central Cee, who arrived as the biggest name of the night, gave a concert that fell short of its status. It was full of fire (literally) and little voice. With an uninvolving stage presence and long moments in which the microphone seemed more dedicated to the audience than to the artist himself, the performance never gained the expected strength. In fact, the only hit sung in unison was sold out right away, thanks to the decision to start the performance with the ultra-popular Doja and her controversial verse “How can I be homophobic? My bitch is gay” . It may have worked on TikTok, but on the main stage of Primavera, the choice proved to be a strategic error.

The energy seemed to be sustained more by fame than by the dedication of the 27-year-old who, wearing a tracksuit and a diamond necklace around his neck, admitted how he has risen in the world since his debut at the festival in Porto in 2023. This time, Oakley Neil Caesar-Su was given the honour of the night slot. Once a promising young artist in British rap, the artist now behaves like a star. He spent long minutes signing t-shirts and CDs thrown on stage, took out his mobile phone to record videos in celebrity mode and distributed generic praise to the audience, the city and the festival, as if following protocol.

Just like two years ago, Central Cee did not give a memorable concert — and it will be even less so, since the artist did not authorize the presence of photographers, also erasing from the visual memory what little he left in the musical.

In stark contrast, Aminé was a breath of fresh air and a lesson in charisma. From the very first minutes, the rapper from Portland (USA) showed not only his command of the stage, but also a genuine connection with the audience, who responded fully to his contagious energy. Aminé, who made his debut in Portugal last year at the Super Bock Super Rock festival in Meco (saving the day after 21 Savage's cancellation) knew how to keep the pace high without ever losing his lightness, mixing humor and impeccable delivery, and showing that he could easily be on one of the main stages with his hits REEL IT IN or Red Mercedes .

“Porto, you’re much better than Barcelona,” he said towards the end. But that wasn’t the greatest gift he left his fans in Porto. After the concert, he went to see him with smiles and took his time taking photos with the fans who were waiting for him near the fence. “My wife has a tattoo of you,” was heard among the crowd, who soon let the young woman pass by to greet the rapper.

Time, however, was running out because, just a few meters away, at the right time, Beach House, having just arrived from the festival in Barcelona, ​​were starting up.

In backlighting, under the already dark sky, the duo from Baltimore showed a world not seen before this spring: a universe of accumulation of synthesizers, under the apparatus of synth-pop, lulling adults who, practically in the dark, let their bodies be guided by the glacial voice of Victoria Legrand.

There's nothing wrong with that — after all, how many good lullabies for adults do we know? — but perhaps it wasn't the right concert for that early hour in the lineup. Given its emotional charge and contemplative tone, it needed to be held at the end of the day, not in the middle of the afternoon.

Those who kicked up a fuss at Liniker's concert were even more lively. The Brazilian singer performed at Primavera Sound this Friday after a much-praised performance at the Coala festival in Cascais. "I'm not a drinker, but if I drink it gets better" ( Baby 95 ), were the first lines we heard from her, after concluding that the day would be better with the concert of the first black trans woman to take home a Latin Grammy for Best Brazilian Popular Music Album.

Caju , the album that she has just released in Portugal — and which she will perform again in October, in concerts at two of the country's biggest stages, Meo Arena and Super Bock Arena — tells a 24-hour story that begins in Japan and ends in Brazil. A story that is told between pop and samba, pagode and soul, and that was heard by many who gave up Beach House to dance. “Shake it nicely, Porto,” Liniker would say to the audience. “I'm going to live my life singing for the people,” she would end up saying.

On the Cupra stage, Liniker's compatriot was equally popular. Kamila Ferreira, better known as King Kami, got the dance floor going with a vibrant and distinctive set. Based in Lisbon for several years, the Brazilian DJ and producer has established herself as one of the most unique voices on the Portuguese-Brazilian electronic music scene, combining Afro beats, funk, techno and tropical rhythms with a sound curation that is both political and festive. Entry to the venue, limited to 200 people, filled up quickly, and there was never a queue during the long hours.

If hip hop was dominant in the festival's lineup this Friday, the end of the afternoon was marked by a moment of introspection and calm, guided by the serene voice of Cátia Mazari Oliveira, the Portuguese singer-songwriter who goes by the name of A Garota Não.

Tasked with opening one of the secondary stages (Revolut), she began by presenting a pair of songs from the brand new Ferry Gold (2025), which follows the acclaimed 2 de Abril (2022). Having released the album less than a month ago and without much media fanfare — no prior announcements, singles or music videos — the artist made a point of explaining what the album was about: the “times we live in”, “austerity”, “disordered families”, the “scary places that everyone has”.

To the curious audience, he began by showing A Casa de Bernarda Alba , the album's opening track, “a kind of metaphor for a country under dictatorship, where it was hard to breathe, where there was always someone lurking or watching”, he told Observador a few weeks ago. He also revealed Este País Não É Para Mães or Fronteiras Invisíveis , politicized songs (“they killed another boy”, we heard repeatedly on Monday), but, aware of the short time he was given for his debut at the festival (as an artist and audience member, he made a point of noting), he quickly launched into a medley of songs from previous albums.

One of them had a dedication: “This one is for our Government”, he began by saying. “I’m even going to take off my coat for Luís”, he added with a smile, before launching into the verses of Canção Sem Final : “ They can declare the end of art, It’s like declaring the end of the rain / There’s always someone dreaming somewhere / And our voice will never be a widow”.

There was an attentive silence among the audience, not only because of the delicate melody, but because of the power of the words. Many were surprised to realize that those lyrics reveal the current history of the country, like A sede do Xega . Between expressions of surprise and murmurs of agreement, the applause recognized the almost disconcerting relevance.

“We always have time… except when they kick us off the stage,” he joked after giving a sublime interpretation of a poem by Eugénio de Andrade. Included in the book Até Amanhã (Until Tomorrow ) (1951), the poem Urgentemente has become more urgent than ever, he warns us. “Love is urgent/ A boat at sea is urgent/ It is urgent to destroy certain words, hatred, loneliness and cruelty/ some laments, many swords.”

With Dilúvio , A Garota Não closed the concert evoking the loneliness and restlessness of those who seek meaning in a world that seems to be sinking. The song was at the same time a lament and a collective embrace.

The night ended with Deftones, an iconic band from the 90s and 2000s that marked an era in the field of heavy music and alternative metal. The Californian alternative rock/metal band brought together many devotees to listen to classics such as Change (In The House of Flies) , Sextape and My Own Summer (Shove It) . It was an emotional and sonic release that spanned decades of their career without losing its relevance, with Chino Moreno's unmistakable voice oscillating between a melodic whisper and a visceral scream. The concert showed why they continue to be an essential reference in the crossover between metal, shoegaze and post-hardcore. For many, it was the highlight of the night — dark, intense and strangely beautiful.

The summer of Primavera Sound Porto 2025 continues this Saturday and Sunday, with names such as Turnstile, Jamie xx and Haim. The organization expects to receive 33 to 37 thousand people per day.