Fantcha's tribute to her home town, Mindelo, is a worthy honour to its people. Although not as polished as her previous offering, Criolinha, it easily illustrates her mastery of morna (Cape Verdean blues) and coladera (non-blues island music). Most of the songs here are in a happier, lighter vein, as suits her higher, more shrill voice.

Fantcha's style is clear and direct, and her phrasing is quite good. Even if your Portuguese is spotty you can pick up most of the words. She's not as deeply emotional as Jobim or Gilberto, Brazilian jazz/pop stars to whom you could easily compare her (I wouldn't match her against Evoria, who helped train her); indeed, she seems almost detached from her songs, which is a bit odd.

I once heard a Brasilian man explain that people in his town waited all year for carnival, because it was the one thing that really lifted their spirits from the hardship endemic to their lives. Fantcha, who cut her professional teeth performing in Mindelo's carnival, may espouse the belief that music is supposed to be happy, just as carnival should. It's a simplistic explanation, but I can't put my finger on her somewhat strange detachment and come up with any other reason for it. She's technically perfect, of course, and her backup band sails you away to warm island beaches and bright African colours. However, if you've ever seen Next Stop, Wonderland you know how much this music can move you emotionally -- and at a deeper level. The music that the movie focuses on is bossa nova -- not the same thing as morna or coladera, but both morna and bossa nova have similar influences, namely the Portuguese fado. The musicologist in the movie explains the spirit of bossa nova as "saudade", which he defines as "melancholy nostalgia...you are sad and happy at the same time. You don't smile, but you are content." This same spirit informs the morna.

All of Fantcha's arrangements are rich, complemented by a full range of instruments, which allows her the same range as the '60s bands to whom she pays homage, such as Astrud Gilberto, Antonio Carlos Jobim or João Gilberto.

The title track pounds with heavy percussion and cavaquinho, and sounds like a circus parade coming down the center city street. "Amiga" celebrates the power of friendship in the morna style, and is lushly backed by her orchestra, with particular emphasis given to a mournful clarinet solo.

Everyone can respond to the need for light flirtation, and Viva Mindelo is light flirtation for the ears. Join in Fantcha's celebration of Mindelo: grab this CD and relax.