Djavan debuts in the city of Rio de Janeiro (RJ) the show of the tour 'Djavanear 50 years – Only successes' Reginaldo Teixeira / Disclosure ? SHOW REVIEW Title: Djavanear 50 years – Only successes Artist: Djavan Date and place: August 1, 2026 at Farmasi Arena (Rio de Janeiro, RJ) Rate: ? ? ? ? ? ? “I’m back, Rio!”, celebrated Djavan on the Farmasi Arena stage last night, Saturday, August 1st. After reviving “Eu te devoro” (1998), a jovial song that symbolized the peak of popularity in the singer’s career at the end of the 20th century, Djavan improvised and sang a cappella the opening verses of “Delírio dos mortals” (2007), a samba he composed in praise of Rio de Janeiro (RJ). “Rio / You can say whatever you want / But the people’s favorite is Rio / Home of samba and love / Of the Redeemer / Praise be to Rio”, blessed Djavan. It was the cue to greet the audience that filled the Rio arena to watch the premiere in the city of the show “Djavanear 50 years – Only successes”, whose tour has been in rotation across Brazil since May. "This city gave birth to me and made me what I am today. I learned everything in Rio de Janeiro", summarized the artist, extending his greetings to the audience with the singing of "Boa Noite" (1992), a funky beat. Djavan was happy. Finally, the singer presented in Rio de Janeiro (RJ) – the city in which he was actually born and flourished as an artist, an early giant of the MPB dynasty – the retrospective show marking the fiftieth anniversary of his career, launched in 1975 with the defense of the samba “Fato consumado” at a festival promoted by TV Globo and consolidated the following year with the release of his first album, “A Voz • O Guitar • A Música de Djavan” (1976). The atmosphere of happiness spread among the audience crowded on the dance floor, in the seats and in the boxes of the arena, making the simple mortals who were there delirious, entranced by the opportunity to hear the supreme work of a composer who deserves the qualification of genius. There were almost 30 songs in a two and a half hour presentation that flowed so well that almost no one felt the absence of one or another famous song such as “Faltando um loja” (1981), “Esquinas” (1984) and “Asa” (1986). Overall, Djavan fulfilled what he promised in the title of the tour “Djavanear 50 years – Only successes” and promoted a parade of hits in the open itinerary with “Sina” (1982), revived with an African accent arrangement, as if to signal that Luanda is the beacon that illuminates the work planted on the ground of Alagoas and germinated in Rio de Janeiro (RJ), the city to which the artist born in Maceió (AL) migrated in 1972 in January 1949. Framed by the scenography by Gringo Cardia, architect of the colorful landscapes generated by the continuous display of graphics, paintings, photographs and canvases by great visual artists on the LED panel, Djavan maintained the momentum of the presentation during the two and a half hours. If “Cigano” (1989) gained a jazzy air, recalling the strength of jazz in the artist’s musical formation, “Miragem” (1984), “Me leve” (1987) and even “Mal de mim” (1989) reiterated the strength of the singer’s personality by inserting B-sides into the mosaic of hits. The songs were accompanied in respectful silence by the audience, who enjoyed the chorus of accurate bangers like “Samurai” (1982) and “Se…” (1992). Sharing the stage with the band formed by musicians Felipe Alves (drums), Jessé Sadoc (trumpet and flugelhorn), Marcelo Mariano (bass), Marcelo Martins (tenor sax and flute), Paulo Calasans (piano and keyboards), Rafael Rocha (trombone), (Renato Fonseca (keyboards) and Torcuato Mariano (guitar and acoustic guitar), as well as vocalists Clara Carolina and Jenni Rocha, Djavan rewound the work with subtle renovations, such as the backing vocals in “Linha do Equador” (Djavan and Caetano Veloso, 1992) and the redesigned division of the song “Sedutor” (1981), but without wanting to prove himself modern by the simple awareness of already knowing that he is eternal in the MPB pantheon of harmonies, Djavan knows the carat of the work he created – to the point of supporting an entirely original script with 28 songs, being one of them. 25 made only by the composer, without partners. In addition to the aforementioned “Linha do Equador”, a leap-year partnership with Caetano Veloso presented on the album “Coisa de acer” (1992), the exceptions were “Lambada de cobra” (Djavan and Cacaso, 1980) – a great moment for the vocal and guitar block, with the right to a name mention by the lyricist partner Cacaso (1944 – 1987), one of the greatest poets of MPB. – and “O vento” (1987), a great song written by Djavan in partnership with another poet, Ronaldo Bastos. Because it was released in the immortal voice of Gal Costa (1945 – 2022) on the album “Lua de mel como o dia diabo Gosto” (1987) and only recorded by Djavan on the singer’s last album, “Improviso” (2024), “O vento” was played beautifully and melancholically in the show, like the closing of the block it had. two other songs by Djavan associated with Gal's crystalline singing, “Açaí” (1981) and “Azul” (1982). “Gal is a moving memory. Gal was the greatest performer I've ever had,” said Djavan, highlighting the importance of the singer who recorded 13 of the composer's songs between 1981 and 2019. In addition to Gal, Djavan celebrated the memory of David Sanborn (1945 – 2024), an influential artist. American saxophonist with whom the singer recorded the song “Almost in the morning” (1986) 40 years ago for the album “Meu lado” (1986). Never covered by Djavan or even sung live until then, “Almost in the morning” is the big surprise of the show script “Djavanear 50 years – Only successes”, revived in a jazzy tone with the saxophonist Marcelo Martins performing Sanborn's part in the recording live. Despite all the visual apparatus and all the imposing virtuosity of the big band, Djavan managed to provoke a cathartic effect on the audience armed only with his guitar and unparalleled voice in a block paved with the memorable ballads “Meu bem quer” (1980) and “Oceano” (1989). and “Flor de lis” (1976) had a similar effect, proving for the umpteenth time Djavan’s ability to compose music with sophisticated architecture.