Quetzal’s second Smithsonian Folkways project in the series Tradiciones/Traditions, sounds a journey to a place where loss is consoled and replenished.
— From liner notes of "The Eternal Getdown"

SATURDAY, MARCH 25, 2017 | 7PM
Aratani Theatre, Los Angeles


Aloe Blacc, César Castro, Rocio Marrón, Alfredo "Godo" Herrera González, Russell Rodríguez, Ramón Gutiérrez Hernández, Jacob Hernández, Conchita Pozar, Caitlin Moss, Maceo Hernández, Kaz Mogi, Joey De León, Dante Pascuzzo, Sandino González-Flores, Misa Martinez, Marlene Beltran


Martha González
Quetzal Flores
Tylana Enomoto
Juan Pérez
Evan Greer
Quincy McCrary
Alberto López


The GRAMMY-winning East L.A. band Quetzal summons a powerful panoply of sounds from its urban palette – rock, R&B, Mexican son jarocho, Japanese taiko, Afro-Cuban batá, and more – to create an ambitious, artful album with a social point of view.

The Eternal Getdown, their seventh album, taps Quetzal’s extended family of artists to affirm the power of music and people to get down together in creative harmony. 

The lyrics and sound in The Eternal Getdown are attempting to take stock of the current energy, imagination, and social justice momentum of our times.
— Martha Gonzalez of Quetzal


Quetzal is an ensemble of highly talented musicians, joined for the goal of creating good music that tells the social, cultural, political, and musical stories of people in struggle. Martha Gonzalez (lead singer, percussionist, and songwriter) calls it an "East LA Chican@ rock group," summing up its rootedness in the complex cultural currents of life in the barrio, its social activism, its strong feminist stance, and its rock and roll musical beginnings. Besides being a rock band, the group and its members participate in a much larger web of musical, cultural, and political engagement.

Quetzal’s approach to music is influenced by much more than the East L.A. musical soundscape of Mexican musica ranchera, salsa, Chicano Rock, R&B, and international popular music. For members of Quetzal, music expresses the ultimate struggle for dignity. In lead singer Martha Gonzalez’ words, "part of being in the band is having a Chicana feminist analysis. The presence of women in the group is not 'eye candy' or a tokenized gesture toward balancing any sort of gender scale: it's an honest recognition of the poetic, musical, and compositional strengths the female musicians in the community possess."

The group Quetzal emerged out of a particularly contentious time generated by events such as the 1992 Los Angeles uprising, the 1994 Proposition 187 campaign (to deny medical and public services to undocumented immigrants and public education to undocumented children), and the repercussive reach of the Zapatista insurrection in Mexico. These events spurred a powerful synergy, in which avenues of expressive culture such as music and public art emerged as platforms from which to voice marginalized people's desires, opinions, and resistance to the conditions in which they found themselves. The proactive strategy of Quetzal and other artists was to maneuver through the societal problems that were affecting the communities in which these artists were living.

As a prominent force in this East L.A. creative culturescape, Quetzal vividly portrays how music, culture, and sociopolitical ideology come together in a specific place.