BRAZILIAN BRILLIANT AND BOUNDLESS ENERGY

By Emma Carney | Bunny Pudding · Digital Coven · @bunnyscopes ⭐⭐️⭐⭐⭐ | Press Invite

Let me tell you about a very cool man (or should I say, cool cat if I’m going full jazz baby?): Michael Pipoquinha. The Limoeiro do Norte born bass virtuoso was celebrating his 30th birthday with a special tour, including a visit to Ronnie Scott’s – and it was also his first time playing this legendary venue. You could feel the excitement radiating from the band and the audience alike. This wasn’t just another gig. It was an event.

And what an event it was.

First, a word on the band’s aesthetic. Michael Pipoquinha and his musicians are just effortlessly cool. I can’t fully explain it, but they each fit a look that was fashionably fabulous to the eye – and of course dear reader, they had the musical skills to match. I wouldn’t single out any single member unfairly because everyone got their time to shine and then some. But I will give special kudos to the multi-instrumentalist in the wind section. OMG. That man had pipes. He played jazz flute, then switched to clarinet, and suddenly the old jazz saxophone got pulled out mid-song like it was nothing. I have yet to master the tambourine, so I am always impressed when someone plays more than one instrument. These musicians are a different breed of human, I swear.

Now, let me talk about Michael Pipoquinha himself. His technical skill on the bass is nothing short of astonishing. The man has been performing professionally since the age of eleven, and it shows. His fingers moved across the fretboard with a speed and precision that felt almost impossible to follow, yet everything he played was drenched in feeling. There was no showing off for the sake of it. Every rapid run, every harmonic, every sliding note served the music. He made the bass sing, then whisper, then roar – sometimes all within the same song. Watching him, I understood why he has shared stages with legends like Gilberto Gil, Djavan, and Ivan Lins. He is genuinely that good.

The music itself was a thrilling fusion of Brazilian traditions and modern jazz. Each section of every song gave a different band member a moment to showcase their immense abilities, which also told me something about Pipoquinha as a composer. He writes to lift others up. You could feel how bonded the band were, trading solos with grins and nods.

But the moment that truly stopped the room was when Pipoquinha introduced a song he had written for his mother. A jovial celebration of one’s Mama…by the end, I wasn’t alone in having something in my eye. It was a reminder that behind all the jaw-dropping technique is a heart. That balance is what makes an artist great.

The show was fully booked, and nobody left disappointed. Pipoquinha even achieved the impossible: he got a tourist-heavy Ronnie Scott’s audience to actively participate. For anyone who knows London crowds, that is a miracle. (British audiences love to yap back at artists, at football matches and anyone who just happens to drop a glass in public, but tourists are another story.) The call-and-response moments he led were joyful and I was absolutely charmed.

Now, the venue. Ronnie Scott’s is always amazing – the best atmosphere and vibes in London town, darling. The staff are also elite. My only niggle was my bar seat. While the view was fabulous and highly recommended, it was a personal space nightmare for this AuDHD queen and I know a few of my readers are also of the neuro spicy variety so I’d recommend a table seat if you have concerns around perception etc. I had planned to eat a proper meal but settled for chips rather than managing a big plate in that squeeze. The chips were fabulous, darling, and the food looked amazing. I will be back for a full dinner and more cocktails so don’t you worry, Mr Scott.

Would I have happily sat through the next show? Absolutely. The energy and creativity of this entire band was just elite. Five stars. Truly a star to follow into the future.

Michael Pipoquinha was performed at Ronnie Scotts on Saturday 11 April.

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Photo Credit: Ronnie Scotts