It's already known that Cape Verde will be the guest country to headline the next edition of MED, scheduled for the summer of 2025. This will certainly have profound repercussions on the program, with the country that elevated morna to intangible heritage of humanity having considerable musical riches to share with the dedicated and attentive audience that annually flocks to Loulé for days of intense celebration. But yesterday, it was with Morocco in its hearts that the edition marking the 20th anniversary of this celebration of music that, across the globe, reflects the soul of peoples, came to a close.
Taking stock, it's safe to say that Loulé's historic center, its hospitable people, and the unique vibe that animates the streets these days are the true headliners of this event. The diverse music performed on every stage is, of course, what draws thousands to Loulé, but people always arrive with a genuine thirst for discovery and aren't necessarily drawn to a "big" name. João Paulo and Ana José, a young couple from Santarém, in a lively conversation on one of the terraces that serve as a meeting point and a space for sharing experiences, confess that they come whenever possible and that it's the opportunity to be exposed to new cultures that brings them to MED, not necessarily any particular name: "We don't even know much of it, but that doesn't deter us," they explain.
And indeed, comments like "I wasn't expecting this" or "I'm a fan" are common at the end of many concerts. And this was true again at the start of the third day, when Eneida Marta and Huca led a beautiful musical dialogue between Guinean and Mozambican cultures on the Chafariz Stage. Carefully balanced, this first concert of the day had several breathtaking moments, such as when the two voices intertwined in a recreation of Paulo de Carvalho's "Mãe Negra," easily capturing the audience's deepest emotions.
There was no shortage of emotions on the grassy slope that stretches in front of the Chafariz Stage: LINA_ took her Fado Camões profoundly stylized to the core of the night and the hearts of those present, in an exquisite performance that establishes her as one of the most original voices of the genre. Fado, in fact, was a constant theme of this final day, spreading across the venue's various stages. From LINA_'s foundational Camões poetry at Chafariz to Cristina Branco's evocation and celebration of Zeca Afonso and the half-centenary of the April Revolution. Flanked by a stellar group from the worlds of jazz—with André Sousa Machado on drums, Bernardo Moreira on double bass, Ricardo Dias on piano, João Moreira on trumpet, and Mário Delgado on guitar—she enchanted the sold-out audience on the Cerca Stage, passing through the vertigo of the future felt in Rita Vian's delivery, who gave a beautiful and intimate performance on the Castelo Stage, the many nuances of this song, also a UNESCO intangible heritage, resonated here.
Also performing on the Castle stage was Mazgani, an indie singer-songwriter who has long inspired a dedicated cult following in our country, now reciprocated with an exploration of Portuguese words, well received by the attentive audience.
This final stage of MED XX wasn't all about thrills, however. Anthony B, a long-time dream of Paulo Silva, the festival's artistic director, delivered an energetic and charismatic performance on the Matriz stage that confirmed his status as one of the global greats of Jamaica's greatest musical export, reggae: all nerve and pure energy, Anthony B raised the temperature of the vast audience gathered in front of the Matriz stage. This vast space, in fact, was always packed, with performances by Tabanka Djaz, a true Guinean cultural institution, and the impressive Transe Gnawa Express led by Samifati, inspiring dance, applause, and unconditional dedication from the thousands who said "present."
The night also featured other significant highlights, of course, such as the Afrobeat lesson with tropicalist overtones from Brazilian band Bixiga 70, an unavoidable reference in São Paulo's rich musical scene; the Afro-futuristic journey of the tireless Afrotronix, who blend echoes of Sahara blues with an original and ultra-danceable vision of electronic music; and the pop-inflected electronica of South Korean band Idiotape – one of the pleasant surprises on this year's lineup. In all cases, the pronounced cadences and constant calls for movement were amply met by a party-ready crowd. This MED XX was, after all, a celebration.
Well into the night, a fleeting encounter with the aforementioned couple from Santarém confirmed the previously stated idea: "We're hearing fantastic things, we've had our fill of dancing, and we can guarantee that next year we won't miss it." Looking at the faces of those wandering the colorful and aromatic historic streets of Loulé, it's safe to say that João Paulo and Ana José's promise will be repeated by many more.
Until 2025!
“Onboard Diary, 20 years of the MED Festival”, by Rui Miguel Abreu, critic and
