Considering the fact that she is the host of a literature program on the radio (O Fim dos Princípios), it comes as no surprise to suspect a certain poetic bias in the way Helena Barros retells memories of the festival. Although she was part of Tremor’s media team in 2015, her most cherished memory still comes from her days as a spectator. Helena Barros fondly remembers the Filho da Mãe concert, in the first edition of the festival, 2014:

«The concert by Filho da Mãe, at the Church of Santa Bárbara, for me, set the tone for what Tremor would become. I was a fan of Filho da Mãe and he had a song with my name in it—Helena Aquática—which is a song he reportedly almost never plays because it’s so difficult. Because I had easy access to the festival’s behind the scenes, I tried to find out if this song was in the line-up: and it was there! Inside the church, I was sitting next to Mário Lopes from Público (we didn’t know each other but I knew who he was because I knew his work) and when the concert was approaching the end, I verbalized “Damnit, he’s not going to play Helena Aquática”. Mário Lopes heard that and said, “If you’re waiting for him to play that song, forget it, he’s not going to play it.” And I remember assuring him “You’ll see, he’s going to play it”. Shortly after, he played it! That’s why, for me, not going to Tremor is not an option. It’s not just what you see and hear. It’s where you see and hear it that makes all the difference.»