On Sunday, Caetano Veloso made his Toronto concert debut, and the Globe and Mail takes the opportunity to weigh in on the ever-evolving performer it calls, approvingly, "a master of 'all is not what it seems.'" "The music of Cê in itself is prime Veloso in trickster mode. It's rock music that's a poke in the eye of 'rockism,' the elevation of certain rock music to exalted elite status ... But the music, whether audacious and driving or achingly melancholic, and from whatever period of his prolific songbook, was unfailingly stronger for any inherent contradictions." In advance of tomorrow night's show in Pasadena, the Los Angeles Times has published a profile of the performer examining how he has maintained what may be "the most varied career of any '60s icon."

"Had Caetano Veloso just aged gracefully, it would have been enough," says The New Yorker ahead of Veloso's NYC Cê tour stops. "Had he merely written thirty or so perfect songs, it would have been enough. Had he only recorded Cê, one of the most striking and least indulgent rock records of 2007, it would have been enough. But on top of all that there’s the fact that when he comes to New York, he gets to play to his crowd."

Congratulations to Caetano Veloso, who, last night, was awarded Latin Grammys in both of the categories in which he was nominated. The ceremony, held for the first time in Las Vegas, brought Caetano awards for Best Singer-Songwriter Album for Cê and Best Brazilian Song for "Não Me Arrependo," off the new CD. That brings his total number of Latin Grammys to five (including his albums Livro and Noites do Norte) and makes him the Brazilian artist with the most wins in the Award's history. 

Following Caetano Veloso's sold-out show at the University of North Carolina, the school's Daily Tar Heel offered a glowing review and a uniquely student-centric perspective on his latest, most rock-influenced work, Cê, and his current tour of the US. "It makes me happier," the paper quotes him as saying, "because I think that a university town has a lot of young people and young people are very curious. They're interested in things."

In today's New York Daily News, Carolina Gonzalez previews Caetano Veloso's upcoming New York City performances at the Nokia Theater, and has a friendly suggestion for the folks who hand out the Grammys: "If the Latin Recording Academy gave out a Grammy for Best Living Songwriter, Caetano Veloso would walk away handily with the prize." (While that's not yet an option, Caetano has grabbed two nominations for his new record, Cê—Best Singer-Songwriter Album and Best Brazilian Song for "Não Me Arrependo" off the album.)

Caetano Veloso performed at Boston's Orpheum Theatre last Friday, and the Boston Globe reports on what was a full-on rock show by "the gifted and eclectic Brazilian superstar." With the focus of the concert on Caetano's latest album, the rock-influenced Cê, "the setting was stripped-down and austere by the artist's standards, but the ideas were not."

In today's Boston Globe, correspondent Siddhartha Mitter previews tonight's Caetano Veloso show at the Orpheum Theare. In Caetano's current artistic output, Mitter finds that the 65-year-old singer "still shows the restlessness that first earned him fame in the late 1960s." Yet for all the sonic surprises on the new, rock-influenced album Cê, "the man's voice is as richly seductive and thoughtful as ever, and the lyrics ... offer intellectual and cultural queries presented in the Veloso manner, suffused with yearning and ambiguous eroticism."

In today's Boston Herald, Caetano Veloso lays out a complex path of inspirations for his new record, Cê, from Brazilian singers of the 1930s all the way up to the Arctic Monkeys and Animal Collective today, with stops at vintage-era Talking Heads along the way. A still more personal influence on the new sound is Caetano's son Moreno, who produced the album. Caetano performs at the Orpheum in Boston this Friday.

Rolling Stone Brazil has released its list of the 100 Best Brazilian Records of all time, and Caetano Veloso, with four records on the list, is among the artists garnering the most mentions. Earning the No. 2 slot on the album list is Tropicália or Panis et Circencis, the seminal 1968 album that introduced Veloso and Gilberto Gil as "artists searching for a universal language" to the world outside Brazil. Transa, which Caetano recorded during his exile in England in 1972, closes out the top 10. Veloso kicks off a North American tour in Boston on November 2.

In a sprawling interview with pitchforkmedia.com, folk rocker Devendra Banhart talks about everything from colonial American history to making his new record using an authentic Nicolai Tesla–made microphone. Banhart, who appeared earlier this year at a David Byrne–curated concert at Carnegie Hall, also recalls what he says is the "best review" he's ever gotten; it was from Caetano Veloso.

The New York Times, in its list of must-sees on a short trip to São Paolo, Brazil, includes Bar Brahma, because "as everyone will tell you, this is where Caetano Veloso's soulful song 'Sampa' starts out. Legend has it that Caetano wrote the song from there." 

Caetano Veloso has written an article about Brazilian artist Hélio Oiticica for the current issue of TATE ETC., the magazine of the Tate Gallery in London.