Words: Rafe Llewellyn, Images: Press
Descending on Islington assembly alongside myself was a sea of red and white. Arsenal were due to kick off their 8pm Premier League tie just down the road that evening and their fans joined me in the last portion of the journey to see Rodrigo Cuevas’ show at Islington assembly.
The second instalment of Latin festival La Linea’s London scattered selection of productions, Cuevas’ performances promised to be a ‘rave pilgrimage’ and the North London giant’s fans provided exceptional company in the final leg of my mission.
What was left after they had dispersed was a gaggle of keen fans excitedly chattering in anticipation of the doors opening. A jovial debate at the front of the queue immediately roused my anticipation as the earliest member of the line fiercely defended her small pastry snacks to a bemused steward. The fiasco was defused quickly however and the line began to shuffle forwards. It set the tone nicely though, cheeky and slightly raucous, a perfect concoction for an incredible night.
Islington assembly was already pre-heated upon my arrival. Bobbing behind a set of decks at the back of the stage, DJ Felipe laid down smooth grooves, serenading the audience at entry and building anticipation for Rodrigo Cuevas.
The Asturian headliner seamlessly weaves together traditional Asturian music with contemporary electronic elements that are emblematic of his pilgrimage status. He is a dynamo of Iberian folklore, a progressive force in cultural expression. Cuevas is also unique in his interactions with the audience, making conversation, laughing and performing with his assemblage. This was how he began his show, floating through the awed floor with haunting a cappella before joining his musicians on stage.
A puppeteer of the crowd, Cuevas whipped up the wonderment that held the audience in his first number into a frenzied jig with ‘MÁS ANIMAL’ before slowing them back down to introduce himself and four ‘contestants’ that joined him. ‘My English is no good’ Cuevas admitted before announcing that although he was sure he was very funny, the English speakers of the room may not quite understand the humour. This proved not to be an issue as the audience whooped and whistled to every word that left his lips.
Among the other 3 English people in the room (found by a show of hands), a lesson in Asturian culture ensued. Songs traditional of weddings and of acceptance to the villages were fused with party melodies and even ‘very sexy’ tunes for which a strip tease was deemed absolutely necessary.
Despite Cuevas’ signature lively nature, an important message resided in the stories of a queer man of the early 20th century who was killed aged 50 in 1976. The gig, fresh from a supreme court ruling that trans women could no longer be considered as women, Cuevas’ pro-queer stance as a gay man was powerful. LGBTQ+ motifs shine through the light of Rodrigo Cuevas’ art. The Asturian called for poetic justice through ‘Rambalín’, and his solution is simple. Why should they care, people must be allowed to live as they choose.
The fiesta continued in spirit, an encore of ‘Muiñeira para filla da bruxa’ bringing the energy back one final time. Stomping, clapping and roaring raised a cacophony of appreciation to the rafters of Islington Assembly, a fitting way to fight off the end to a raucous night of passion.
