{"id":328714,"date":"2025-09-21T15:36:59","date_gmt":"2025-09-21T19:36:59","guid":{"rendered":"https:\/\/oncubanews.com\/en\/?p=328714"},"modified":"2025-09-21T15:40:45","modified_gmt":"2025-09-21T19:40:45","slug":"silvio-rodriguez-like-a-balm-on-memory","status":"publish","type":"post","link":"https:\/\/oncubanews.com\/en\/culture\/silvio-rodriguez-like-a-balm-on-memory\/","title":{"rendered":"Silvio Rodr\u00edguez: Like a balm on memory"},"content":{"rendered":"

Silvio arrived at exactly 7 p.m., at the agreed-upon time. This punctuality, so rare in Cuba, was the first gesture of the evening. He was dressed in Silvio\u2019s style: jeans, a dark blue T-shirt with a small Cuban flag embroidered on the left side \u2014 where the heart beats \u2014 and a black cap with the word \u201cAprendiz.\u201d He appeared with one of his two inseparable companions: the camera (his guitar was already waiting for him on stage).<\/p>\n

The audience burst out shouting. They didn\u2019t welcome him: they named him with ovations, applause and shouts that multiplied on the steps of the University of Havana. Silvio waved, gave a knowing smile, raised his camera and snapped a picture of the sea of people waiting for him. He then hugged his guitar and began the journey.<\/p>\n

\"\"<\/a>
Photo: Kaloian.<\/figcaption><\/figure>\n

The weather seemed to be in agreement. After days of heavy rain that had made us worry about the concert, it was clearing up at that hour. Orange colors painted the horizon where the sea meets, on the seawall. It was the first time in days that the sun had been seen like that, like a warm watercolor blessing the event.<\/p>\n

The first chords evoked Jos\u00e9 Mart\u00ed: \u201cThere is a mass of essential truths that fit on the wing of a hummingbird, and they are, nevertheless, the key to public peace, spiritual elevation and national greatness,\u201d the singer-songwriter read. Words from the text \u201cMaestros ambulantes\u201d (Wandering Masters), the same one from which Silvio drew the inspiration for \u201cAla de colibr\u00ed\u201d (Hummingbird Wing).<\/p>\n

\"\"<\/a>
Photo: Kaloian.<\/figcaption><\/figure>\n
\"\"<\/a>
Photo: Kaloian.<\/figcaption><\/figure>\n

The concert opened with that song. And it wasn\u2019t a coincidence: it\u2019s a song that embraces diversity, brokenness and resilience. An exact metaphor for today\u2019s Cuba, even though it\u2019s a song from twenty years ago.<\/p>\n

After that opening, I threw myself into the crowd. I wanted to take photos from below, to experience the concert through the eyes of the people. What I saw was a diverse wave: twenty-somethings singing songs from when they weren\u2019t even born, forty-somethings like me who absorbed the poetry of the New Song Movement thanks to our parents, and sixty-somethings who heard those songs when they were just released.<\/p>\n

Three generations linked by the same verses. We haven\u2019t seen that in Cuba for a long time.<\/p>\n

\"\"<\/a>
Photo: Kaloian.<\/figcaption><\/figure>\n
\"\"<\/a>
Photo: Kaloian.<\/figcaption><\/figure>\n

Around me were kisses, hugs, tears and applause. All spontaneous and self-prompted. In the midst of that crowd, I heard Silvio dedicate the concert to \u201cPep\u00edn, the worker.\u201d That was the name of Jos\u00e9 Antonio Medina, that endearing character, photographer and stage manager, teller of a thousand anecdotes, generous to the end, who died in 2024. His smiling photo appeared on the screen. A fitting tribute to one of those essential invisible figures.<\/p>\n

The repertoire was a journey through the decades: after \u201cHummingbird Wing\u201d came \u201cAmerica,\u201d \u201cSue\u00f1o con serpientes\u201d (I Dream of Snakes), \u201cVirgen de Occidente\u201d (Virgin of the West), \u201cViene la cosa\u201d (The Thing Is Coming), \u201cPara no botar el sof\u00e1\u201d (So as Not to Throw Away the Baby Water with the Tub), \u201cNuestro despu\u00e9s\u201d (Our Afterwards), \u201cLa bondad y su reverso\u201d (Goodness and Its Reverse), \u201cCassiopea\u201d and \u201cTonada del albedr\u00edo\u201d (Ballad of Free Will).<\/p>\n

\"\"<\/a>
Photo: Kaloian.<\/figcaption><\/figure>\n
\"\"<\/a>
Photo: Kaloian.<\/figcaption><\/figure>\n

It\u2019s worth stopping to look at the band that accompanies the singer-songwriter. The virtuosity is remarkable: Emilio Vega on vibraphone, Jorge Arag\u00f3n on piano, Niurka Gonz\u00e1lez on flute and clarinet, Jorge Reyes on double bass, Rachid L\u00f3pez on guitar, Maykel Elizarde on tres, Oliver Vald\u00e9s on drums, and Malva Rodr\u00edguez on backing vocals and piano. They do not accompany, but rather are accomplices. We will cover each of these musicians in future installments throughout this tour with Silvio, which we will be covering on OnCuba.<\/p>\n

While listening to the songs in this first part, I wondered how it is possible that after so many years Silvio continues to write songs that touch deep chords and reflect so much the collective feeling.<\/p>\n

\"\"<\/a>
Photo: Kaloian.<\/figcaption><\/figure>\n
\"\"<\/a>
Photo: Kaloian.<\/figcaption><\/figure>\n

I think the key is that he doesn\u2019t live in a bubble. He suffers the same power outages and water shortages, the same migrations of friends and loved ones as anyone in Cuba. His reality isn\u2019t far removed from that of the people. And, beyond the everyday, his songs speak of the universal, of what all generations face.<\/p>\n

In that first part of the concert, I confirmed an intuition: just as \u201cOjal\u00e1\u201d (I Hope So), \u201cLa era\u201d and \u201cHistoria de las sillas\u201d (Story of the Chairs) were the anthems of other generations, today \u201cPara no botar el sof\u00e1\u201d is becoming a new classic for young Cubans.<\/p>\n

I confirmed this when I heard the applause erupt at the most critical verses, while, a few feet away, the country\u2019s president, ministers, and officials stood a few feet away. Direct verses that ran freely between those who governed and those governed.<\/p>\n

There was a moment of profound emotion when Silvio remembered three brothers of the New Song Movement who are no longer with us. He sang \u201cCr\u00e9eme\u201d (Believe Me) by Vicente Feli\u00fa, \u201cTe perdono\u201d (I Forgive You) by Noel Nicola and \u201cYolanda\u201d by Pablo Milan\u00e9s.<\/p>\n

\"\"<\/a>
Photo: Kaloian.<\/figcaption><\/figure>\n
\"\"<\/a>
Photo: Kaloian.<\/figcaption><\/figure>\n

The audience accompanied him with faltering voices. It wasn\u2019t just a tribute: it was bringing them back, even if only for a few minutes.<\/p>\n

Another heartfelt moment came with poetry. Silvio recited \u201cHalt!\u201d by Luis Rogelio \u201cWichy\u201d Nogueras, to express his solidarity with Palestine. His daughter Malva covered his shoulders with a keffiyeh as the verses echoed.<\/p>\n

On the steps, under the Havana sky, those words were a wake-up call.<\/p>\n

\"\"<\/a>
Photo: Kaloian.<\/figcaption><\/figure>\n
\"\"<\/a>
Photo: Kaloian.<\/figcaption><\/figure>\n

The repertoire continued with \u201cM\u00e1s porvenir\u201d (More Future), \u201cEva,\u201d \u201cEscaramujo\u201d (Wild Rose) and \u201cQui\u00e9n Fuera\u201d (Who Would Be). Then came \u201cLa era est\u00e1 pariendo un coraz\u00f3n\u201d (The Age is Giving Birth to a Heart), \u201c\u00c1ngel para un final\u201d (Angel for an End) and the encores: \u201cEl necio\u201d (The Fool), a previously unreleased guaracha titled \u201cCualquiera que nace en Cuba\u201d (Anyone Born in Cuba), which got everyone dancing, the essential \u201cOjal\u00e1\u201d and, as a finale, \u201cVenga la esperanza\u201d (Give Way to Hope).<\/p>\n

There were also surprises in the middle of the concert. The audience kept requesting songs like someone with an endless list of offers and Silvio, smiling, deviated for a moment from the initial plan of the twenty or so songs chosen. Then the chords of \u201cLa maza\u201d rang out, and the concert had another of those magical moments.<\/p>\n

\"\"<\/a>
Photo: Kaloian.<\/figcaption><\/figure>\n

\u201cThose who are far away feel close,\u201d said Silvio before saying goodbye, addressing those at the top of the hill, near the Alma Mater and the rectorate. It also went out to many who couldn\u2019t be on the steps, to those who weren\u2019t even in Cuba and followed the concert via live broadcasts made with cell phones held high. The metaphor became a reality.<\/p>\n

\"\"<\/a>
Photo: Kaloian.<\/figcaption><\/figure>\n

This was Silvio\u2019s fifth concert on the steps of the University of Havana. The first, with Pablo Milan\u00e9s in 1984, drew more than 40,000 people and was broadcast on television.<\/p>\n

He returned in 1985 with Afrocuba and Santiago Feli\u00fa. In 1997, during the World Youth Festival, he shared the stage with Sara Gonz\u00e1lez, Amaury P\u00e9rez and Vicente Feli\u00fa, among others. The fourth time was twenty years ago, on a nature tour, under a downpour that didn\u2019t stop him.<\/p>\n

Now he\u2019s returning to kick off a new adventure: a Latin American tour that will take him to Chile, Argentina, Uruguay, Peru and Colombia. Twelve concerts in five countries that were sold out in hours. The performances promise to be a phenomenon in the Southern Cone.<\/p>\n

What we experienced on the steps during the concert by Silvio and his colleagues was a true collective soothing for the soul. Cuba is going through very difficult times: crisis, migration, hopelessness.<\/p>\n

\"\"<\/a>
Photo: Kaloian.<\/figcaption><\/figure>\n
\"\"<\/a>
Photo: Kaloian.<\/figcaption><\/figure>\n

However, the night of September 19th will remain etched like a balm on the memories of those of us who were there and those who, from various latitudes, also sighed.<\/p>\n

We continue the tour. Next stop: Santiago, Chile.<\/p>\n

\"\"<\/a>
Photo: Kaloian.<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

What we experienced on the University of Havana steps during the concert by Silvio and his colleagues was a true collective soothing for the soul. 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