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Review | Shakira shakes up Broward fans with ``Waka Waka''


Midway through Shakira's Saturday night concert at Sunrise's BankAtlantic Center she brought several musicians forward for the kind of quiet acoustic moment that has become a standard pop concert feature.

But Shakira also turned the song, ``Gypsy,'' into a bit of playful pop theater: swishing her red ruffled skirt in a faux flamenco dance, shimmying inches from percussionist Brendan Buckley's face, writhing on the floor in perfect rhythmic time. ``I'm a gypsy.'' she sang. ``Are you coming with me. . . C'mon for the ride.''

Shakira's a gypsy these days, a pop voyager plucking what she likes from the world's music and working it into an animated sound and image that hits a sweet spot with fans everywhere. (Many of them are in South Florida -- she plays Miami's AmericanAirlines Arena Monday.)

``I'm here to please you.'' she told the roaring, sold-out crowd. ``I'm all yours.''

Barefoot and superbly fit in costumes -- black spandex pants with gold top, nude bra-top with various flowing skirts and pants -- that showed off her supple, snaking torso, Shakira expertly and joyfully cycled through her various musical incarnations.

We got worldbeat fusion Shakira from her breakout, Emilio Estefan-produced era, with ``Ojos Asi'' and ``Ciega, Sordomuda,'' mixing cumbia and Latin pop with Middle Eastern harmonies and hip-shimmering bellydance. She did the funky rap duet ``La Tortura,'' with Miami keyboard player Albert Menendez taking Alejandro Sanz' part. She showed what might be her latest musical direction by doing a number of songs, including older hits like ``Whenever, Wherever'' and ``Si Te Vas,'' as hard rockers. That last was not quite convincing, since her band's thundering guitar solos and hammering drums threatened to drown out her sweetly husky, vibrato voice.

A big part of the fun came from the production's sharp theatrical and visual sensibility, in everything from choreographic details to smartly stunning stage effects.

Shakira entered from the back of the arena, moving through the crowd in a billowing hot pink, hooded gown. When Menendez rapped ``Let me see you move like you come from Colombia'' in ``Hips Don't Lie,'' her hit duet with Wyclef Jean, the two backup dancers swept their wide skirts in a Colombian folk dance move. For the booming electro-dance title track of her last album, ``She Wolf,'' she wore green animal print dhoti pants with a ragged fabric tail that she shimmied with a vengeance, forsaking the hyper-sexy, cage-dancing imagery of the song's video for a mischievous visual joke.

There were hints of her next incarnation; she sang ``Sale El Sol'' (The Sun is Coming Out), the title track from her upcoming album, a soaring rock power ballad. A high point, also from ``Sol,'' was ``Gordita,'' a duet with brilliant reggaeton duo Calle 13, where an enormous white mask, animated by flickering projections, stood in for Calle 13 rapper Rene.

``This is going to make you hot,'' Rene's voice boomed. ``Pretty words,'' Shakira rapped back, riding the irresistibly danceable rhythm. She closed with an exuberant rendition of ``Waka Waka,'' the World Cup theme song and a global hit.

``Waka'' is based on a 1985 song by a Cameroonian group, which caused a dispute over who should get credit for the song. But you can't argue with the fact that Shakira made ``Waka Waka'' into a anthem for Africa and beyond.

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This article has been posted by: xxjohnxx
Posted at 09/28/2010. Original article can be found here.

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