Brazilian pop thrived because artists recombined local textures with pop to paint a picture of how the country is rewriting its relationship to identity.
At Brazil’s MADA Festival, a new generation of pop and hip-hop visionaries channel a serious madness and turn psychedelic delirium into art.
This year shall go down as the year when K-pop was made for people who don’t like it. The approach that once defined its innovation now repels its purists.
Rosalía’s Lux may seem, at first, hard to read as pop, but it’s as pop as religion, one of its inspirations. The very act of calling it pop is an act of faith in the power of music.
Milo J’s La Vida Era Más Corta is a display of youth inserting itself into an ancient landscape with more pride in its history than anxiety about modernizing it.
With Rock Doido, a work of homage and cultural repossession, Amazonic diva Gaby Amarantos solidifies the status of “rock doido” as a musical genre.
As Rashid prepares to step onto the stage at Lincoln Center where Rakim and Big Daddy Kane performed, he believes Brazilian identity opens doors for today’s hip-hop artists.
Brazilian multi artist Hodari sings sex and modern love in an intimate performance for Goma Sessions, premiered at PopMatters.
I’m left with a new idea of who Addison Rae is, and this idea is way more interesting than how I feel about most of the pop music in those algorithmic playlists.
Ahead of Brazil’s Saint John festivities, the captivating genre of forró is more alive than ever and is connecting with wider and more diverse audiences outside its birthplace.
During her appearance at Brazil’s Psica Festival, Viviane Batidão, “The Queen of Tecnomelody”, talks, dances, and sings the sensual joys of Amazonian Pop.
Latin Grammy-nominated piseiro singer João Gomes is among Brazil’s most versatile musicians, transiting smoothly between diverse musical and cultural niches.
