Liniker entered the stage as if he knew exactly the weight and beauty of this moment. It was not an evening like any other: it was the last show of the year of an intense tour called CAJU. From the first minutes, the atmosphere was set: the group was lively, the audience completely engaged and an artist in full connection with her work, her story and all those who were there to listen to her.
The opening with “Negona dos Olhos Terríveis” already made it clear that the show would be presented at a high level.
The group — united, precise and full of personality — functioned like a living organism: each musician with his genius, but always at the service of the song.
The wind group, emphasizing the flute in delicate harmony with the backing vocals, created layers that mesmerized the audience.
From one song to the next, Liniker addressed the audience like someone talking to those closest to him. In one of the most memorable moments of the evening, she thanked Brasilia for her affection and set the show in time and body.
“It’s an honor to be able to come back to the city once again. Thank you so much for filling this house. This is a very important show for us because today is our last show of the year.”
The artist recalled that there have been 64 shows touring around the world since CAJU’s debut, and highlighted the meaning of this journey for a black Brazilian singer, songwriter and transvestite who uses words as a tool of existence.
The romantic sequence presented “Veludo Marrom” in an intense and apotheotic version, followed by “Papo de Edredom” and “Caju”, sung in chorus by a totally devoted audience.
Liniker smiled when he noticed something special in the audience: lots of children. She thanked the families and got straight to the point: “It is important that children know that diversity exists here, on stage, in the street, everywhere. »
The speech elicited long, emotional applause.
In “Me Ajude a Salvar os Domingos”, the show took on even more vibrant contours, complemented by the breathtaking solos of bassist Ana Karina Sebastião and the trombone of Ed Trombone, two of the most famous moments of the night.
Shortly after, Liniker opened his heart when speaking about the balance of this artistic process: collective maturation, poetic courage and the responsibility to exist and create in a country that still kills LGBTQIA+ and black people.
Poetry, as she herself said, is where it is, even if it requires more tact, more listening, more diving.
The atmosphere changes temperature with a “Psst”, preceded by an almost solemn demand for attention. The audience’s respectful silence gave way to trumpet solos from Filipe Aires and backing vocalist Ingrid Valentine, prompting gasps before the next explosion.
“Baby 95” ended the game with an infectious Bahian pagodao, getting everyone dancing.
The home stretch was a parade of power and affection. “Popstar” was accompanied by striking solos from Vitor Arantes on keyboard and Sérgio Machado on drums. The choirs – affectionately nicknamed by Liniker Black Dolphins (Lucas Samuel, Thaís Ribeiro, Paulo Zuckini and Ingrid Valentine) – were applauded.
In “Febre,” the direction brought even more drama to the stage.
When “Pot of Gold” started, no one sat still. The entire audience rose to their feet and Bira’s saxophone solo capped off one of the highlights of the show.
Next, Liniker presented “Charme”, performed live for the first time after Tiny Desk Brasil, in an intimate and celebrated debut atmosphere.
The closing with “Deixa Estar” was symbolic: several children took the stage, transforming the end of the show into a powerful image of future, diversity and belonging.
Liniker was applauded, visibly moved, leaving the feeling of mission accomplished. The last show of the year was the confirmation of a historic moment in the career of an artist who continues to expand the influence of Brazilian music with poetry, courage and truth.
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