B Fachada / Julinho da Concertina

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The Foundation adopted the Portuguese Health Authority’s guidelines for cultural facilities to prevent the spread of the Covid-19. The audience is placed two seats apart, and mask use is mandatory throughout the show. Moreover, strict cleaning and disinfection guidelines were implemented on the venues. Read the complete access conditions.


B Fachada

One of the biggest names of the Portuguese song, shoulder to shoulder with the greatest song writers of now and all times, B Fachada has such a respectful legacy that everything that might appear in the future would instantly become a blessing for everything that was left behind in the melodies and words which grew to be a part of the Portuguese chansonnier. The several self-titled albums, but also “B Fachada É Pra Meninos” or “Criôlo” are the heritage of a very particular path of focused work, not tempted by momentary tendencies, and profoundly aware of its past – Zeca, José Mário Branco or Sérgio Godinho – but without any unnecessary bows.

Silent since his last release in 2015, B Fachada chooses to reappear now, in a period where his live performances have been relatively rare. He is someone who dedicates his art the amount of time and attention it asks for, with no hastiness or external interference. With some luck, who knows if he will reveal some of what he has been doing, more or less secretly, for these past 5 years.


Julinho da Concertina

A true master of the concertina and a very special and respected figure in the world of funaná (traditional musical genre from Cape-Verde, vibrant with energy and dance), he was born on the island of Santiago and has been living in Lisbon since 1971. Julinho da Concertina would be a sort of myth if his presence were not so lively and his songs were not so pure. He has been playing his instrument for more than 50 years and spent a lot of that time enjoying the popularity and fame conquered among the communities from Portuguese-speaking African countries. Julinho brings with him all his life experience, he writes his music using the force of all his sorrows and joys.

In 2018 he released, with Celeste/Mariposa, the essential “Diabo Tocador”, and offered his music and his life’s work to the world, well within the tradition of concertina players, always full of stories to tell, in a pure act of liberation, a party, even when he is singing about how harsh and cruel some lives are.

B Fachada He writes songs that appear to be received almost as a social science, but the opposite can also be true. He has many descendants, but he is more than the sum of those he influenced. There is no figure like B Fachada (the artistic name of Bernardo Fachada) in the scene of Portuguese popular music. He is a composer, producer and multi-instrumentalist. Born in 1984, he studied music and learned the piano at Instituto Gregoriano de Lisboa. Later, he attended the school of Hot Clube de Portugal and university, having studied Portuguese literature and culture. Since 2007, he has been on the spotlight because of his astonishing, but also ruthless, continuous releases trough which he has been subverting the canon and converting those who believed in dogma, shuffling expectations and expectorating the hoi polloi, and, at the same time, hunting fiercely for labels only to rip them apart. In between CDs and Digital, he has released a total of five EPs (it is worth mentioning the remote “Viola Braguesa”, a reflection about the concept of tradition and the betrayals it involves, or the split with Pega Monstro, from 2015, that symbolizes friendship and an aesthetic commitment); three turning point albums (“Há Festa na Moradia”, released in CD and vinyl, “Deus, Pátria e Família”, that appeared to shock the country, and “O Fim”, which announced a sabbatical leave); and six LPs (from the discussion of moral issues associated with the world of children in “B Fachada é Pra Meninos” and the pop manifesto “Criôlo”, to the self-titled album of 2014, created with polished samples, baroque programming and stateless beats). His tremendous impact is a test to the limits of what we understand by culture heritage.

Between 2009 and 2012 he was also part of the band Diabo na Cruz with who he travelled across the country. When he was still in the beginning of his career, the director Tiago Pereira chose him to feature in the documentary “Tradição Oral Contemporânea”. With Minta and João Correia, he released a full version of the album “Os Sobreviventes”, originally by Sérgio Godinho, with whom he has already performed live. He has also shared the stage with countless other artists like Dead Combo, Lula Pena, Manel Cruz, Manuela Azevedo, Márcia, Norberto Lobo, Nuno Prata or Samuel Úria. He also did the opening shows for Kurt Vile and Vashti Bunyan. He has, on several occasions, performed internationally, in Berlin, Barcelona or Prague, but never in Brazil, where he has a legion of fans. He has performed in the most emblematic venues in Portugal, but everyone seems to cherish the memories of his impromptu acts in non-conventional spaces that quickly sell out. Despite everything we can read about his career – and he has an unparalleled press file among his pairs – or the fact that we can witness the act of communion that his concerts represent, it would be enough to follow his virtual presence to understand that he’s as eclectic as full of experience. That why it is usually said that his work is indistinguishable from who consumes it. Or that biography and allegory are inseparable in his writings. But, something that these ten years of artistic activity can suggest is that Fachada is interested in questioning conventions using his own tone, in his own time, on his own terms. bfachada.bandcamp.com

Julinho da Concertina He is simply one of the greatest of Funaná history. He is a figure who speaks for itself, known by every citizen of Cape-Verde. He was born on the island of Santiago and lives in Damaia, in Lisbon, and has had, since 1971 a solid career playing in international festivals. A concert by Julinho da Concertina is an explosion so big that it is hard to describe. He brings with him the culture of Funaná in its purest form, that feeling of euphoric freedom that could only be felt, in colonial times, at the end of the day, after running away from the police. Funaná was born and still exists today in defiance to authorities and submission. Julinho is a natural libertarian and embodies an impossible concept: absolute freedom.

The Calouste Gulbenkian Foundation reserves the right to collect and keep records of images, sounds and voice for the diffusion and collective preservation of the memory of its cultural and artistic activity. For further information, please contact us at [email protected].


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