History tends to repeat itself when it comes to music genres being disrupted by technology. Be it for the replacement of real musicians for machines or the simplification of the sound, the “electronic” version of music genres often faces resistance and prejudice. The narrative was no different with Brazil’s beloved forró, the genre born in the country’s Northeastern backlands whose instrumentals are marked by the combination of accordion, zabumba, and triangle.
In the 1990s, drum machines and synthesizers generated forró eletrônico (“electronic forró”) and sparked fears that the death of traditional forró was on the horizon. Fast forward to the 2020s, and the genre’s latest evolution, piseiro, has had its own wave of skepticism. One artist has managed to captivate those who often sneer at piseiro. João Gomes shows how the genre connects with the essence of forró, but also with other genres and facets of Brazilian music.
João Gomes was born in 2002, during the peak of forró eletrônico‘s “pop” phase, led by bands like Calcinha Preta. You wouldn’t guess his birth year by listening to his deep timbre. What might traditionally be associated with an older man’s voice is actually a hallmark of the genre, rooted in the tradition of the “father of forró”, Luiz Gonzaga, himself known for his resonant, low-pitched voice. The lower register and slightly slurred diction are key elements of the aesthetics of “vaqueiro” (cowboy), evoking the culture of Northeastern cowhands who herd cattle on horseback and/or participate in the traditional sport of vaquejada. “I believe in the way we sing”, João Gomes tells PopMatters in an interview in Belém, Brazil, before his concert at Festival Psica, of which he is one of the headliners.
It’s not only João Gomes’ voice that hints at the “vaqueiro” archetype. He dresses simply but often wears the vaqueiro hat (which in Brazil also became a symbol of cangaço culture). The title track of his debut album, Eu tenho a senha (2021), features storytelling about the daily life of a cowboy in the backlands. Sound-wise, traditional elements of forró (like the accordion) and Northeastern culture infuse the electronic beats of Gomes’ piseiro, whose bpm is closer to the traditional forró than piseiro’s predecessor forró eletrônico.
To many, João Gomes’ appeal is difficult to understand: it doesn’t look like he puts much effort into his singing or performances. For others, his simplicity is precisely what makes the music click. Gomes’ mix of elements is undeniably relatable for Northeastern Brazilian people. He became one of the primary references of piseiro, and his music conquered the vast country.
Today, he is acknowledged as one of the most versatile and well-connected young musicians in Brazil, transiting smoothly among diverse niches and bypassing prejudices. He paved this ground by consistently including covers in his live repertoire and albums. Today, he’s also being covered: singer Mãeana’s Mãeana Canta JG project is dedicated to covers of João Gomes and bossa nova king João Gilberto — a testimony of how Gomes’ music can blend with genres essentially different.
Another testimony to his talent is the range of his collaborators in genre and age. His first live album and DVD, Acredite (2022), featured rapper L7nnon, MPB singer Vanessa da Mata, forró singers Tarcísio do Acordeon, Vitor Fernandes, and Yara Tchê, and MPB/forró icon Fagner. In theory, some of these collaborations may not make sense, but Gomes believes music transcends differences.
“Whether it’s a collaboration with a sertanejo artist, or a pop, MPB artist, in the end, they’re just people who love music, like me”, he tells PopMatters. “At the same time, they’re people who welcome someone who admires them with the greatest affection. So, for all these people I’ve met along the way, in all these days, it’s a blessing and an honor to collaborate with them.”
João Gomes’ performance at Festival Psica symbolizes his versatility as an artist. Set in Brazil’s Northern/Amazonian region, the festival celebrates pan-Amazonian culture. Gomes’ piseiro is not entangled in this regional context. Yet, he is one of the lineup’s most celebrated and awaited artists. He shares the stage with his friend, rapper Don L, showcasing an unusual combination of piseiro and hip-hop.
The performance came just days after João Gomes performed at Festival Navegantes, a prestigious cruise concert alongside MPB and pop icon Marisa Monte. Gomes admits that the contrast between events like these is challenging, but he enjoys it and likes to prepare accordingly. “These are two concerts and two worlds I’m not used to [being a part of]. But anyone who pays attention to music and detail will see that we prepare ourselves for things like these. We prepare special arrangements. And of course, there are songs we play at every concert, but when it’s time to collaborate with someone [and make something different from the usual], I think: ‘That’s what I make music for’”, says Gomes.
Besides Don L, Gomes’ concert at Festival Psica also featured drag queen and pop superstar Pabllo Vittar. The duo performed their collaboration “Vira Lata” together for the first time, just two days after releasing the track’s music video, in which they portray a couple. The reception to “Vira Lata” has been somewhat kinder than other collaborations Vittar did with male artists.
In 2017, “Paraíso”, released with sertanejo singer Lucas Lucco, was the target of many transphobic comments and rejection from sertanejo fans, to the point that Lucco took time away from the music industry. Even though that was only seven years ago, prejudice against LGBTQA artists is still very much alive in genres like the one Gomes is inserted in. One can say Gomes took a risk by collaborating with Vittar. He doesn’t see it that way. “This person taught me a lot, and I’m not even talking about gender [identity]. I’m talking about dedication,” he says before announcing Vittar onstage.
João Gomes’ humbleness remains even when the topic of the conversation is the Latin Grammys. Nominated for Best Portuguese Language Roots Album for two years in a row (2023 and 2024), Gomes speaks fondly of the artists who won. “Last year, it was Gaby Amarantos, who is from here [Belém, Pará — Amarantos also performed at the Festival]. This year, it was Mestrinho [along with Mariana Aydar], who is a great friend of mine and presented me to music such as Hamilton de Holanda and other artists who were at the Latin Grammys — artists from Colombia, Argentina, and so much more. There’s nothing more fair and beautiful that I can do other than admiring a friend from the same place [the Brazilian Northeast] and being grateful that they are representing our music.”
João Gomes’ name is not only becoming frequent in the Latin Grammy nominations list every year. He’s also on the Academy’s radar for projects such as Latin Grammy Sessions, celebrating the award’s 25th anniversary. For Sessions, Gomes sang with none less than Tropicália icon Gilberto Gil.
Nevertheless, when it comes to Brazilians in the global spotlight, Gomes still sees himself as “small fish”, he says while laughing. He’s less modest when acknowledging the kind of music that took him this far. “Piseiro took me to the Latin Grammys. I was nominated for singing popular music and about where I come from. I believe in our music, our purpose, and the people from the Northeast, the Brazilians, the Latin Americans — there’s so much talent.” He’s also vocal about the need for more Brazilian representation among nominees and voters. “The [Latin] Grammys need more Brazilians.”
The challenges to bring music as specific as piseiro to other countries might be daunting, but João Gomes is already winning over many in Brazil without needing much more than a vaqueiro hat, a powerful voice, and a smile.