A charming little city named Braga – which you might not be familiar with – has been named the Portuguese Capital of Culture this year. Situated in the northern part of the country, approximately half an hour from Porto, it ranks as one of the oldest cities in Portugal as well as one of the earliest Catholic cities globally, evident from the numerous stunning churches that line its streets. Additionally, Braga boasts a vibrant creative community of interdisciplinary artists engaged in various art forms, from film to visual arts and music. This makes it the perfect location for SQUARE – a new festival and conference designed to “connect and celebrate the talent that resides outside the mainstream.”
As part of the Braga25 campaign, SQUARE has searched for the most talented underground artists across the Atlantic. The festival featured a diverse selection of musical acts from Africa, the Americas, and Europe, taking place over five days in four northern Portuguese cities – Barcelos, Famalicão, Guimarães, and the previously mentioned Braga. This gave festival-goers a chance to discover lesser-known regions of Portugal while introducing them to an eclectic mix of underground music spanning various genres. Alongside a lively art exhibition by Sonic Youth’s Kim Gordon and discussions among industry experts on topics like the influence of geography on music and artists' rights, the festival promises to offer a thought-provoking and enlightening experience to its attendees.
Each performance presented something unexpected, often peculiar, and generally remarkable. Skanderani, a ska-punk band inspired by jazz from Estrada, kicked off the festival with an energetic sonic burst that seemed almost too large for the seated venue (CIAJG) they were in. Their exuberance might have translated better in a space like the arches of Teatro Jordão, where we witnessed Glaswegian queer punks COMFORT. Amidst flashes of red and blue lights, frontwoman Natalie McGhee created a striking silhouette against the ancient archway backdrop. In classic Scottish style, the sibling duo exhibited an infectious buoyancy and spirit as they belted out performances over energetic electropunk beats and pulsating drums. The open layout of the venue invited onlookers to join in the festivities, exemplifying SQUARE’s mission of transcending boundaries effectively.
They succeeded in this endeavor, evidenced by Amsterdam’s Housepainters. This 80s-inspired new wave band performed in the midst of a market, where the aroma of roasted chestnuts, twinkling trinkets, and numerous leather jackets created a fitting atmosphere for their afternoon show. Treading a line between Talking Heads and Warmduscher, their lively synths and groovy rhythms captivated a crowd of slightly bewildered market-goers, who soon became engrossed in the band's sound and engaging stage presence.
While there were a few less compelling acts, most venues enhanced the distinctiveness of the performers they hosted. The ethereal duo Caamaño & Ameixeiras turned the Museu Da Olaria – a lovely pottery gallery – into a celestial dreamscape. Their delicately haunting vocals, complemented by accordion and violin, enchanted the audience into awed silence. The surreal ceramic sculptures surrounding the space further enriched the ethereal atmosphere inspired by their performance.
Likewise, the Portuguese hardcore band HETTA excelled in their unconventional venue. A sweaty basement filled with former goths beneath a CBD emporium, redolent of weed, was an ideal setting for hardcore shows. While many other acts fused classical, folk, and electronic elements in their music, HETTA brought thrilling surprises with their rapid-fire punk songs, often clocking in at ninety seconds.
The diverse range of genres presented by SQUARE is commendable as well: no two artists bore any resemblance in sound. The absurd amalgamation of inventive electronic music, traditional Latin American elements, and performance art found in Julián Mayorga’s set stood in stark contrast to the experimental folk of Arianna Casellas y Kauê. Mayorga’s futuristic DJ set was immersive and transcendental; clad in a silky cape (and sporting a set of spare arms), his performance was both sonically captivating and playfully engaging.
Conversely, Arianna Casellas y Kauê captivated the audience with a folky reinterpretation of the past. They began their set with simple, traditional drumming that gradually evolved into more experimental sounds, merging those rhythms with spoken word to create a mythical narrative. Their performance was moving, invoking feelings of childhood nostalgia while also evoking primal memories of communal dancing, music-making, and storytelling.
As night fell, festival-goers returned to Braga to witness performances in an abandoned cinema. Retro Cassetta – a DJ expanding North African music to avant-garde levels – incorporated cassettes from various genres into his set, including rap, rock, chaâbi, and gnaoua. Unsafe Space Garden, a spirited psych rock band, channeled Frank Zappa with their quirky rock approach, blending humor with existential themes. Zancudo Berraco delivered a mesmerizing blend of rock and dance
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