The Conventillo Cultural Abasto transformed into a small station from the deep South of the United States on Friday night. There, the spirit of the honored group appeared in full: a complex rhythmic architecture in which the guitars intertwined with the Hammond organ to recreate the hypnotic climate of Southern rock, with long solos and changing textures.
In the central part of the show, the atmosphere became more intimate. Rodríguez Silva invited Franco Martino to the stage, and together they offered an electroacoustic and minimalist set with Midnight Rider and Blue Sky. There, a band led by guitarist and singer Juan Manuel Rodríguez Silva paid tribute to The Allman Brothers Band, combining virtuosity, knowledge of the repertoire, and absolute respect for one of the richest traditions in rock.
Accompanied by Demian Núñez on guitar, Lucho Herlein on keyboards, Sebastián Heudtlass on bass, and Federico Renati on drums — with the special participation of Franco Martino on guitar — the group deployed a level of ensemble that surprised from the first moment. The two guitars flowed in sync, holding clean melodies and delicate vocal harmonies that provided a respite before returning to the electric intensity. The rest of the band returned for another heavy instrumental, Jessica, and then for a three-guitar finale that found its peak in Ramblin’ Man.
For two hours, the legacy of Southern rock breathed with its own strength. It did so with the conviction of those who know that when the guitars dialogue in that way, history remains alive. Although the band had already paid tribute to George Harrison and Derek and the Dominos, the naturalness with which they moved through this repertoire made one think they play these songs daily.
The concert began with Hot Lanta, an instrumental to warm up, and continued with Statesboro Blues, where Núñez unleashed a brutal slide that ignited the audience. In the seventies, groups like Stubeaker and Carolina had taken their influence; shortly after came the Dulces 16 with Conejo Jolivet; later Víctor Hamudis and Yalo López kept that tradition alive, but always focused on their own songs.
The finale came with You Don’t Love Me, with left-handed guitarist Juan Cruz Posadas, who had been the opening act with his trio, as a special guest. Beyond the audience's enthusiasm, the night left an unusual feeling: that of having witnessed something almost unprecedented on the local scene. In more recent times, the group Támesis had covered some of their songs, and guitarist Nico Bereciartua —now a member of The Black Crowes— also declared himself a devotee of the musicians from Macon.
But what happened at the Abasto was more than a nostalgic get-together. There are not many precedents for tributes dedicated exclusively to The Allman Brothers Band in Buenos Aires. After Martino's exit, the group plunged into the epic of Whipping Post, executed with a cinematic energy, as if the very William Wallace had issued a battle cry before the final attack. Then came Trouble No More, with its bluesy essence and frenetic execution, and an extensive and devastating version of In Memory of Elizabeth Reed.
