6 PM: Jeremy Sole DJ Set
7 PM: Jarina De Marco
7:45 PM: Jeremy Sole DJ Set
8:15 PM: Gabriel Garzón‐Montano
9:15 PM: Jeremy Sole DJ Set
Celebrating its sixth year in DTLA, the FIGat7th Downtown Festival (also known as FIGFest) will light up the city this June with eclectic sounds and tunes. Presented by Arts Brookfield, this free festival kicks off June 1 and runs four consecutive Friday nights at Downtown LA’s premier shopping destination, FIGat7th. The outdoor plaza will be transformed into an intimate concert venue and a poppin’ dance floor with performances by leading R&B, hip-hop, pop, soul, dance, and electronic artists.
First up is Poolside, the dreamy “Daytime Disco” project of California duo Filip Nikolic and Jeffrey Paradise. They are sure to put your mind at ease while your body slinks into a smooth sway. June 8 will deliver an electric performance by sexy New York R&B duo Lion Babe. Their sound is seductive and eclectic, promoting messages of empowerment supported by clanging percussion, a thumping synth bass, and notes of soul, dance, hip-hop and pop.
On June 15, Gabriel Garzón-Montano takes the stage with layer upon layer of his characteristically thoughtful, sultry, saturated soundscapes that oscillate between new soul, electronic, funk and R&B. Creative visionary Jarina De Marco takes the stage prior, whose unique blend of global rhythms and defiant resistance embody the sound and color of a multi-ethnic future.
The festival closes with the indie-pop-punk band Wavves, bringing their bold, raw, stumbling-through-life synergy to the FIGFest stage. See them crank it up a notch on June 22 when they are joined by the LA-based funk-rock ensemble, Thumpasaurus.
FIGFest’s unique lineup reflects the diversity of the city and the vibrant cultural center that downtown LA has become. Past festivals have featured The Internet, Anderson .Paak, KING, Superhumanoids, Soulection, Tuxedo, Hanni El Khatib, and The Belle Brigade. FIGFest is free and open to the public as part of Arts Brookfield’s continued effort to bring Brookfield Properties’ public spaces to life through music, film, interactive experiences, and visual arts.
ABOUT GABRIEL GARZÓN-MONTANO
On his debut LP, Jardín, Gabriel Garzón-Montano sings of the struggles and uncertainties of the layered game that is America today, from the specific doubt and double consciousness of the first-generation hustle, to the universal challenges of love, legacy, and exploring the maze of one’s own mind. A child of immigrant parents and raised in Brooklyn, NY, Garzón-Montano’s aesthetic is an extension of his French-Colombian heritage, built in equal parts from a pastiche of Bach sonatas, cumbia records, and the machine gun funk that echoes to this day from behind half-rolled tints up and down Nostrand Ave. His mother, a member of the Philip Glass ensemble in the 1990’s, instilled within him a painstaking attention to detail that remains a hallmark of his process. Her rigorous classical instruction served as his creative engine as he honed his skills over the course of years in the lab, copping Stevie’s changes, studying Prince’s lyrics, and absorbing the beat theses of Timbaland, Dilla, and Pete Rock.
Jardín comes on the heels of three intense years of touring, writing and recording. Soon after the 2014 release of his debut EP, Bishouné: Alma del Huila, Garzón-Montano was invited out on the road by rock legend Lenny Kravitz, as direct support on 23 concerts across Europe. The day after playing Wembley Arena, he received a call notifying him that his song “6 8” would be sampled by Drake on his full-length If You’re Reading This, It’s Too Late. The months following these cosigns Garzón-Montano was featured at Bonnaroo, Lollapalooza, and Austin City Limits, and on back-‐to-back tours with English indie-rockers Glass Animals and Stones Throw label mate Mayer Hawthorne.
In 2016, he returned to Waterfront Studios in Hudson, NY, to record Jardín with his mentor, analog guru Henry Hirsch. A capable multi-‐instrumentalist, Garzón-Montano tracked drums, bass, guitar, piano, and synthesizers direct to 2″ tape, adding percussion, digital programming, and several layers of his own vocals to create a lush sonic environment that recalls a contemporary, streetwise Journey Through the Secret Life of Plants. “I wanted to make music that would remind people how beautiful life is-how delicate their hearts are,” says Garzón-Montano. “A garden is full of life, and growth, and beauty. I named the album Jardín hoping for it to create a space for healing when people put it on. I’ve always wanted to make music that is healing, comforting, and funky.”
This intention is, perhaps, what has always attracted listeners to his music. Fans of Bishouné will find familiar ground in the organic sounds and impressionist narratives of Jardín: the Moog-heavy “Fruitflies” reads as a lyrical epilogue to “Keep on Running,” while “The Game” brings the folkloric percussion of “Me Alone” home from Cartagena to Crown Heights. The enduring choruses of “Sour Mango,” “Crawl,” and “My Balloon” exhibit a melodic and compositional craftsmanship reminiscent of the fan favorite “Everything is Everything,” confirming Garzón-Montano’s innate pop sensibilities, and his indisputable knack for fusing a wide range of classic influences and cutting-edge ideas to create a sound all his own.
ABOUT JARINA DE MARCO
Jarina De Marco and her sound embody the multi-ethnic future. Her work defiantly transcends categories and borders. She is a creative visionary who sings in four languages and spearheads all aspects of her project: songwriting, production, visual design and video direction.
Pitchfork and FADER were among her early supporters as well as Mark Ronson and Major Lazer who have collaborated with her as a vocalist for their projects. Following the success of “Tigre,” she released “Release The Hounds” in support for the people of Standing Rock’s movement to protect their land against the Dakota pipeline.
Jarina’s childhood and family inform her genre-defying sound and politics. She was born in the Dominican Republic and spent her early years traveling in remote parts of the Amazonian rainforest and Dominican countryside, cataloguing indigenous sounds and rhythms with her parents, both renowned musicologists and musicians. As part of the resistance against the brutal dictatorship of Joaquín Balaguer, her parents performed a protest song in front of a large public gathering and had to immediately flee the country as they were forced into exile, relocating to Montreal until it was safe to return home.
As an outspoken advocate of women’s rights and human equality, Jarina’s music is a unique blend of global consciousness and global rhythms. She simultaneously supports the message of resistance, while creating a colorful sound entirely her own.