The ones who follow us can get to know many artists and bands full of success potential in the foreign market. We’ve created a pack with a few names that have already shown up here for you. Having varied music styles, these artists share something in common: the commitment of making some creative, good music, far from the commonplace. Besides that, they’ve been attending concerts and festivals around the world since they were released, building a solid national and international career.

Tulipa Ruiz

In 2010, the song “Efêmera”, Tulipa Ruiz’s first album’s title track, was part of Brasil Music Exchange’s promotional CD, “The New Brazilian Music”, which was distributed among international fairs and events. Since then, the success of the young singer doesn’t stop increasing, not only in Brazil but also abroad.

Tulipa, who today is one of the main names in the new Brazilian music, has gotten off with the right foot in 2013. The singer was featured in British newspaper The Guardian as the Brazilian representative in a list with 34 international musicians. But for her, being featured in international press is no longer any news. Her second solo album, “Tudo Tanto”, was chosen 5th best album in Latin America by Sounds and Colours trade magazine.

Holger

Two years ago you read an interview with Holger, Brazilian band from São Paulo, here. At that time, during the release of the album “Sunga”, the band was part of the great flirt between the national music and the African culture, presenting a light and uncommitted pop to the public. The band participated on Brasil Music Exchange’s stages at Culture Collide festival (Los Angeles) and CMJ festival (New York). The guys had their track “Beaver” included in the promotional CD “The New Brazilian Music”, which was also distributed among international fairs and events. BME also included the track in CMJ’s official CD, which resulted in a contract with Microsft.

At the end of 2012, the band released its new work, “IlhaBela”. The album clearly brings the influences mentioned in the interview, mainly axé, now approached with some e-music and cumbia hints, a tropical mix able to transport the Bahia listener to the Caribbean right after the first tracks. For now, Holger focuses its energy on the release of “IlhaBela” throughout Brazilian lands, as they did at Meca Festival and Lollapalooza.

The band has just released the video for the song “Se Você Soubesse”. Check it out:

Criolo

On May 2011, Criolo released  “Nó Na Orelha”, first album of his successful career. From then on, the singer, songwriter and MC, born and raised in the suburbs of São Paulo, has established himself as a spokesman of the national rap. Like Tulipa and Holger, Criolo had a track, “Não Existe Amor em SP”, included in BME’s promotional CD. Curiosity: the record company Sterns negotiated the release of the album “Nó Na Orelha” in Europe after participating at Encounters project.

The rapper has already performed in 11 countries, among them Germany, France, England, Switzerland, Belgium, Portugal, The United States and Netherlands, with two international tours. According to Sounds and Colours magazine, Criolo is one of the most important Brazilian musicians nowadays.

Black Drawing Chalks

Also in 2011, as you read here, we talked to Black Drawing Chalks’ manager, Brazilian band based in Goiânia. The garage/stoner rock band is one of the main national representatives of the style to the international audience. That year, we talked to Fabricio Nobre right after the guys went back from a tour in Europe, where they performed at The Great Escape and at Liverpool SoundCity, thanks to an incentive given by BME to the bands and artists.

Their third studio album, “No Dust Stuck On You”, was released last year and, according to the band, the album puts together the group’s heaviest side, bringing dancing songs and ballads at the same time. In 2013, Black Drawing Chalks performed for the first time at South by Southwest, in Texas, USA.

The band’s last video was for the track “Famous” and was released in February. Check it out:

Banda Black Rio

With “Super Nova Samba Funk”, Banda Black Rio, one of Brazil’s most traditional groups, went back to the music scene in 2011 after a more than 10 years recess, as we spoke here. The one responsible for that was William Magalhães, son of saxophonist and Black Rio’s founder, Oberdan Magalhães. The new work’s release was first made in England and had super special cameos, like Caetano Veloso, Gilberto Gil, Seu Jorge and Elza Soares. In 2011, the country’s most famous samba-funk orchestra went on a tour in Europe, arriving in London, Paris, Amsterdam and Berlin.

And Black Rio has returned for good. This year, the band performed for the first time in Portugal, at Espaço Brasil, with a tribute to Brazilian soul master Tim Maia, and is already getting ready for another European tour, with scheduled performances in France, England and also in Canada.

Watch “Banda Black Rio on Tour 2013” teaser:

Still in his late teen years at the time, Evandro began to produce older brother Emicida’s shows and albums in 2009, when he found himself in the middle the “new” family business. Today he is considered by many, one of the key elements linked to his sibling’s success. “A few years ago the rap scene didn’t have this organization, there was no method, nobody behind most of the artists. As most of the rappers come from the suburbs, or poorer areas of the city, many of them produced themselves. And as everyone knows it is impossible to do everything by yourself. I started of to fill in this space, the need of someone executing these management and more administrative functions”, he explains.

And only a few years after embarking on this journey, Evandro and brother Emicida have been touring all over Brazil and around the world. If that wasn’t enough, they also created a successful label called Laboratorio Fantasma , where they share their experience and knowledge acquired up until now with other artists.

In this interview, the producer talked about the Brazilian hip-hop and rap scene, his difficulties as a producer working internationally and, of course, shared some thoughts on those he considers highlights of this new – but powerful – rhythm that has been gaining strength in our country, still so embedded in the samba and bossa nova culture reminiscent from past decades.

How is the Brazilian rap and hip-hop market today?

I believe that rap, hip-hop, a movement that has been in Brazil for around 30 years now, is something relatively new here, if compared to other genres. A lot of things are still being discovered, and what is happening now will, no doubt, serve as reference for what is yet to come, for the new generations. I guess that there’s been a significant change in the Brazilian rap culture, in the way of writing it and approaching it musically. Today I can say that our rap has a good dialogue with many kinds of audiences, and is not related only to the suburbs of Sao Paulo (even though it still has a strong presence in almost all of these communities). It’s a genre that is extremely necessary for communication with the younger generations, and I can afirm that our main target is still teens and young adults with ages between 16 and 25 years old. I guess that this turning point, this renewal of the market started of with Sabotage , in the 90’s and early 2000’s. With his death, I guess that Emicida picked it up from that point and continued the process together with other names.

We talk a lot about the music exchange between artists from different countries. Is there space for this exchange in the Brazilian rap and hip-hop scene?

Yes, I guess that it’s even easier for international rap groups to play and gather audiences here in Brazil than it is the other way around. Because for us, to play in the US, for example, is a very strong experience, it is to play where the movement began, it’s like coming to Brazil and playing samba. International rappers have a strong possibility of creating audiences here, English is a universal language today, everybody speaks it.

And as a producer, what is the main difficulty when working abroad?

To make sure my artists have an expressive presence outside Brazil I have to ensure they are linked to a good international label and, when playing abroad, have a competent PR firm behind them. Nobody buys records anymore, so this is a way of making sure people listen to our music. Our biggest barrier is still, in a first level, the language, but I do recognize that in the past couple of years people have started to make a bigger effort in understanding what we say.

In terms of more direct production, I guess that the logistics of an international tour is still something hard to plan. It is difficult for someone who doesn’t know you well to invest on your music. The last times we played out of our country, we basically payed for everything, out of our pockets. And this financial matter is really difficult; to play abroad you have to pay for your own trip most of the times, or if you apply maybe you can get some help from specific governmental programs, but it’s not easy. And it seems that for the rap and hip-hop business it is even harder, as it doesn’t exactly qualify as Brazilian music, like samba and bossa nova.

Could you highlight a few names of this new Brazilian rap and hip-hop scene?

There is Rael, that we’re producing and has just released a new album.

Ataque Beliz is another group that is making their name now in Brazil, they’re from Distrito Federal

Don L has a really interesting approach

And there is Flow MC, that in my opinion, released the best mixtape of 2012

The project Encounters, held at Bahia last year and promoted by Brazil Music Exchange in partnership with APEX-Brazil, yielded another fruit: the “Bass Culture Clash: VS Salvador London”, which is a unique opportunity to see some of the best artists of the bass’ scene in London face to face with correspondents of Salvador, capital of the Brazilian style. Between May 10 and 12, there will be presentations of the festival at the iconic neighborhood of Pelourinho, in Salvador and in the United Kingdom, the presentations will take place between May 16 and 18.

Brazil is preparing to host the World Cup (2014) and the Olympic and Paralympic Games (2016) and this project encourages international cultural exchange through the dance floor, and a gateway to the heart of Bahia. The Bass Culture Clash: Salvador VS is held by London Underground British agency, Crispin Parry, who participated in Encounters in Bahia in 2012, and the Secretariat of Culture of Bahia.

London’s formidable dancehall soundsystem The Heatwave will be bringing their “bashment raving scandal” featuring the UK’s number one dancehall queen – MC Lady Chann.

Another artist that will be performing is a graduate of Bass Culture at SXSW 2012, Londoner Natty. He will be twisting roots and recruiting hearts with his deep spirit melodies.

The Brazilian bands at the festival are from the interior of Bahia and stood out in Europe for participation in the compilation “Brazilian Bass Culture & Beyond“, which was launched at the both of Brazil Music Exchange, in partnership with Bahia  Music Export in Womex of Greece in 2012.

OQuadro, one of the hottest acts in the country right now, step up with old-school hip hop, Salvador style.

The other Brazilian band is Os Nelsons, which unleash the connect between Bahia beats and global ghettotech. With influences ranging from Vybz Kartel, Marley and Devlin to Jackson do Pandeiro, Racionais MCs and Buraka Som Sistema, fancy on the beats of dub and reggae.

Check the schedule:

Brasil:

Fri 10 May Teatro Municipal, Ilheus, Bahia

Sat 11 May Bass Culture Clash Festival, Pelourinho, Salvador, Bahia

Sun 12 May Bass Culture Clash Festival, Pelourinho, Salvador, Bahia

UK:

Thu 16 May             19:00-23:00 Roundhouse, London

Fri 17 May             12:30-16:00 Komedia, The Great Escape, Brighton

Sat 18 May             19:00-21:00 Muévete, Notting Hill Arts Club, London (OQuadro + Os Nelsons)

For more information, images and audio downloads: www.basscultureclash.com

There are many ways to find some quality Brazilian music around the world. If you’re seeking for a professional approach on artists and bands, to look for a compromised agency is one of the best options.

Many are the names of companies that have recently (others not that recently) focused their attention on our national cultural production, and have since been specializing on marketing our art to targeted audiences outside our home country.

An example of this strategy is the work presented by french-based agency Helico. Founded in 2004, Hélico is a record label, a booking agency, and a music publishing company. It also handles the promotion of other record labels in projects aimed on the European market. Mainly dedicated to Brazilian music, it is also open to other rhythms classified under the World Music label.

Like many other agencies, Helico has just released their 2013 plan of work with Brazilian artists, which includes the release and promotion of the work of names such as Márcio Faraco, Casuarina, Roda do Cavaco and BaianaSystem. All these names should be on international tour throughout the year.

Another booking agency and label dedicated to Brazilian music – also European based, is Outro Brasil. With a range of services that go from booking to promotion, and a catalogue of artists, mostly from the Northeastern state of Pernambuco, and Rio de Janeiro, Outro Brasil is also an option for those looking to hire Brazilian talents.

Not dedicated only to our music, but with a considerable amount of Brazilian titles in their catalogue, California based Eye For Talent can be a good option for those looking for agencies in the US. Booking and promoting quality names of our contemporary scene, their list of artists includes names such as samba sensation Diogo Nogueira, virtuosic and innovative player of the bandolim Hamilton de Holanda, and noted Brazilian composer and multi-instrumentalist Hermeto Pascoal.

For those interested on effective business deals involving Brazilian music, to seek for regional representatives aware of both the local and our national music trends is, no doubt, one of the best ways to follow.

Born and raised in the city of Salvador, Bahia, Sylvia Patricia started playing the guitar when she was eight. Another eight years later, significantly more mature, she started composing her own songs. Contrary to the trends of her hometown, Sylvia confesses her music doesn’t quite fit the patterns of other artists from the same region as hers. “My music is a mix of rock, bossa nova, soul, blues, jazz, samba and even latin rhythms. I’ve also felt very free to compose on the style that better fits me in the moment”, she says. With already six released albums, she has her songs included in, at least, 25 international compilations.

In this interview, the singer and songwriter talks about her career, her international presence and her future plans.

How did this international thing happen to you? How did you first get exposed to international audiences?

I started my international career in the South of Spain, where I played at a hotel during the Summer. Throughout my career I have played at South by Southwest in 2010, in Chicago, at Friday International Music Series – from Chicago Cultural Center, I was also the international artist at BrasilFest, in Seattle, in 2009, where I gave a few workshops on Brazilian music. I’ve also played in Canada, Buenos Aires, Thailand, Holland, I’ve done three tours in Mallorca, played in Cordoba and basically, every year, I have a gig in Barcelona.

Last year I had a song as part of the soundtrack of an American reality road show, Road Trip Nation, and the year before my song “Outro Inverno” was one of the five finalists of the Hollywood Music Awards, as part of the Best World Music Song category.

What’s the best moment for a Brazilian artist to start thinking on an international career?

I guess that it is when he already has some work done in Brazil. In my case I started thinking about it because I had a song included on three international compilations and a CD released in Japan. I was then invited to play in Spain and I went!

How long before should a person interested on an international career start planning the whole process?

I guess the ideal is a few months before, looking for plane ticket deals, partners, sponsors, it’s always good to do a little research on the place you’re going too, get to know how the place works. Also, it is important to have time to produce some promotional material. If you’re going to a music festival or conference, it is ideal to start scheduling meetings and making contacts before you leave.

Production-wise, what’s the most difficult part of playing abroad?

The price of the air tickets and the administration of the gaps between each presentation.

What is the best way to invest on promotion when playing out of your home country?

The most interesting thing for promotion when playing out of your home country is to reach out for festivals, because they already have a whole organized production and promotion scheme. If you’re not playing at a festival, you’ll need a good local producer; that makes all the difference, because they already have the local contacts, media, journalists, etc.

What’s the biggest advantage on playing outside of Brazil?

I guess that the biggest advantage is expanding the market, to open new paths, to be able to try international licensing. Of course you should always make conscious decisions, be certain that you’re doing something consistent, that there is going to be media.

Which international markets absorb Brazilian music in a better way?

Based on my own experience, Italy, Spain, France, Germany, Japan and England. I spent three months in Thailand and, for my surprise, I listened to a lot of Brazilian music in cafes. In the United States the penetration is a little more difficult, because they are not that into listening to things that are not being sang in English.

]]> http://bma.org.br/brmusicexchange/en/2013/03/entrevista-sylvia-patricia/feed/ 1 http://bma.org.br/brmusicexchange/en/2013/03/festivais-brasileiros-de-musica-em-2013/ http://bma.org.br/brmusicexchange/en/2013/03/festivais-brasileiros-de-musica-em-2013/#comments Thu, 14 Mar 2013 15:57:31 +0000 conteudo http://bma.org.br/brmusicexchange/en/?p=2324 ]]> http://bma.org.br/brmusicexchange/en/2013/03/festivais-brasileiros-de-musica-em-2013/feed/ 0 http://bma.org.br/brmusicexchange/en/2013/03/eng-brazilian-music-festivals-in-2013/ http://bma.org.br/brmusicexchange/en/2013/03/eng-brazilian-music-festivals-in-2013/#comments Tue, 12 Mar 2013 21:23:29 +0000 conteudo http://bma.org.br/brmusicexchange/en/?p=2314 Continuar lendo →]]> Planning on coming to Brazil to really experience our music in its essence? So you better take a look at this compilation of the most expressive musical events scheduled for 2013, before setting up your date.

During the first semester, those who are interested in absorbing the most of our cultural influences straight from their sources are welcome to attend, for example, Campeonato Mineiro de Surfe, an event specially dedicated to rock and Brazilian Surf Music that happens in Minas Gerais – ironically, one of the only states that has no beaches.

Another awaited event is one of the most traditionals independent music festivals of the country, Abril Pro Rock , that happens on the 19th and 20th of April in Pernambuco, and gathers an extremely vast program that includes national artists from the new and upcoming rock and roll scene. Having the Latin-American production as a starting point, the El Mapa de Todos festival also happens during April, in the southern State of Rio Grande do Sul.

For those planning on traveling to the northern region of the country, a good opportunity is to attend Tendencies Rock Festival, in Tocantins, scheduled to start on the 14th of June going on for a month, until the 13th of July. Also during the winter, a good opportunity to get in touch with more traditional and popular styles of Brazilian music is to attend FIG – Festival de Inverno de Garanhuns, that takes place in the city of Garanhuns, Pernambuco, usually in the second half of July.

August is the month to celebrate Rock ‘n’ Roll in our capital district, at Porão do Rock, scheduled for the 30th and 31st, in Brasília. But if you are interested in combining music with warmer weather, the last quarter of the year should be your option of choice.

October brings to the southern State of Paraná, Festival Demo Sul, one of the biggest representatives of independent music of the region, and although they have not yet announced the exact dates of the event, it usually happens sometime throughout the 10th month of the year. Also without confirmed dates, MADA Festival warms up bodies and souls in the northeastern city of Natal, in Rio Grande do Norte, around October.

If the plan is to arrive in our country in November, you should not miss one of the most expected independent events of the year, Goiânia Noise Festival, a festival that is said to track what is effectively going on in the Brazilian alternative scene.

So pack your bags, and enjoy your time in Brazil!

I had been looking forward to attending a Folk Alliance conference for years, but somehow this was my first. After experiencing FA, I learned what other colleagues and musicians were raving about all these years.

First, like with all the best events, the culture mirrors the leaders, or vice-versa. While the organization is now a quarter century old, the Executive Director, Louis Meyers, who, about a quarter century ago, co-founded SXSW, has brought his own caring, entrepreneurial, zen and music loving, (he plays banjo, too), to the party and, by all reports, added a curatorial and wonderful live, hotel room, acoustic showcases, internationalism and personal professionalism.

That is to say the music and panels I saw were inspiring, especially the standard bearers; Judy Collins and Jim Kweskin, among other younger hit song writers, like David Halley and Russell deCarle, ex-Prairie Oyster but also the successful “singer-songwriter stars”, like Dar Williams, Catie Curtis, and also the new-comers, like the Milk Carton Kids, Karine Polwart, Joe Pug, The Stray Birds, Sultans of String, Jordi Lane, Les Hay Babies, Sam Lee, Sam Carter, Kate Ried and the two artists I enjoyed the most of the ones I had never even heard of, (95%+), were Ellis and T-Bone Shtax and The Latchikos.

The reason I list all these musicians is that this conference, unlike some, is extremely selective for their showcases. Due to this, many labels, managers, country export organizations, (especially Scotland, England and Australia), as well as regional Canadian export offices, bring their best musicians to play in hotel rooms. These are just next to and across the hall from each other, so at the Delta Chelsea Hotel, where the entire conference and festival was held, there were three almost entire floors, (10,11+12), about 25-30 rooms on each floor, so more than 75 showcase “venues”. Some of these had full on sound systems, some only acoustic presentations. They were very tightly scheduled, too, about 45 minutes was the maximum set, most more like 25 minutes, so the artists were all up and down the floors, playing more than one showcase, (one group had 7 shows in a day/night), with some jamming among friends and “related” artists. While there, the hosts were serving guests in their hotel rooms, and it was still polite to catch a song, or two and move to the next room. What a great way to hear a tremendous quantity and quality of artists without moving club to club and meeting them, before, after and even during their “sets”.

There were singers singing in other languages, besides the Quebecois, or other accented Francophone Canadians; Welsh, Gaillic and I’m sure some Spanish, not sure about Portuguese, but I’m positive many Brazilian songs would be considered folk songs by the audience, organizers, participants. I did raise my favorite subject (legal lyric translations), at my favorite panel; Music & Social Justice. It was abeautiful panel, with the panelists Dar Williams, Catie Curtis, other progressive and activist artists, as well as Barry Lynn, the Director of Americans United for Separation of Church and State, who works with Folk musicians and house concerts to raise funds and awareness for their vital US cause. Lots of personal connections and all the artist panelists were extremely enthusiastic about having their songs understood in all languages. Singing If I Had a Hammer, with all the panelists and audience was a moving experience, remembering again why I’m (and all those there) were in the music life. The co-writer of that song, Pete Seeger, was the first artist I saw live in concert about a half century ago. JImi Hendrix a few years later; ’69. There were a lot of “grey hairs” there, probably about 10 year old demographic average than most music conferences I attend, but that extra decade gave it an extra level of history, wisdom, storytelling, practice and humanity. Certainly, there were youth, aplenty, too, especially now with the recent expansion, if not explosion of Folk musicians becoming stars, like Mumford + Sons and cross-over hits. I think it’s also as the folks, or people, are actually more connected now, at least on the internet and songs and artists with a passionate following can be followed more easily, worldwide.

There are many music professionals, academics, (like my friend, Professor Jon Kertzer), companies, music organizations, instrument manufacturers, journalists, radio dj’s, festival and club programmers, even many new media companies, like Marcato Digital, who have an organizational software for musicians and the leading back-end software for festivals, like Coachella and CMJ. Folks I know from Canadian Music Week, ASCAP, Bandzoogle, Musicians Atlas/Independent Music Awards, Green Copper , BMG Rights Management, SOCAN, Outside Music, Birchmere , British Underground, and other execs were loving the event, music, while doing very good business. The panels I participated in were on legal lyric translations and selling music in China; (for Glocalvocal, LyricFind, 88tc88 and Music Matters), and on building an international team, with other well informed panelists from the US, UK, Scotland and Canada.

A “strange co-incidence” was that Rob Stegman recognized me, not from the music business, but from growing up, 4 years younger than me, in my hometown. He wasn’t in the music business, but was a commercial filmmaker, who had made afilm, For The Love of Music with a friend of his about Passim, a legendary Boston folk coffeehouse and venue. The documentary captured the free, open, engaged spirit of young people in the late 50′s and 60′s, now much older people in the ’10′s, who lived their lives, at least partly, if not mostly, for the love of music. It was the place that Joan Baez first performed in, who, along with Judy Collins and Joni Mitchell, made every cool young girl long to sing, play guitar and, also, to stand up and work for what they believed in. Joan was a student then, but her singing and performing completely took over the Boston students and, not only a club, but amovement, was forwarded. Of course, there were many others, before, during and after, like Woody Guthrie, Pete Seeger, The Weavers, Peter, Paul + Mary, Bob Dylan and the legendary Blues artists, like Leadbelly, Lightning Hopkins, Taj Mahal and the locals, who became internationally known artists, like Jim Kweskin. Geoff and Maria Muldaur and others. I had a wonderful “meeting” with Betsy Siggins, who founded the New England Folk Music Archives and worked on (and in) the film.

Folk Alliance, like this film, is all about, and for, the love of music. I highly recommend that Brazilian “folk” music, even the Coco music I was very lucky to see and hear in Olinda a few years back while attending Porto Musical or any authentic music that sings to and with and for the people, become a part of the musical palette at the next Folk Alliance, scheduled to be in Kansas City, Kansas in 2014. Please check out this organization and festival/conference, it might make more sense to come here than to Womex, or maybe attend both events, if possible, depending upon your music, resources and audience. For this audience, like for Womex, CMJ, CMW, Music Matters , ASCAP EXPO, or any music conference or festival outside Brazil or Portugal, remember that your lyric translations can assist tremendously in enabling the audience to understand, remember, possibly sing, and to fully appreciate the Brazilian folk and new original songs and the meanings of the songs; communication! It’s the first time I had the great pleasure to experience this festival, thanks Louis!, but it won’t be the last.

“SXSW aims to educate and inspire participants by offering numerous industry events and countless networking opportunities. By day, conference registrants do business in the Austin Convention Center. At night, registrants descend on Austin’s music venues as SXSW presents the world-renowned music festival showcasing over 2000 acts from 50 countries. SXSW Music takes place Tuesday, March 12 through Sunday, March 17.”

The Brasil Music Exchange will be represented with a stand at the fair and Brazilian attendees interested in closing deals and promoting their work will gather around the booth in the Convention Center, #1122, right across the “Meet Up Pavilions & Bar.

Brazilian attendance:

Opening up the calendar of Brazilian showcases on Tuesday, 12, OneRPM will host a night at The Whiskey Room, with a program that includes Goiania based group Cambriana and “paulista” hip-hop sensation Emicida.

Playing on Wednesday at Dirty Dog Bar, it’s time for another representative of the state of Goias, Black Drawing Chalks,  to show the international audiences a little of what goes on in our contemporary rock scene. On the same day, but at Copa, Marcelo Fruet & os Cozinheiros make their debut show in the festival.

Indie/Pop artist Tiago Iorc plays at Stephen F’s Bar on Thursday. Later on the night, Roge takes the stage at the Elephant Room.

On Wednesday the Reeperbahn Festival will be hosting an opportunity to meet the Brazilians.

German Haus (1 minute walk from convention center)

Icenhauer’s, 83 Rainey St, Austin TX

Wed, 13. March 4 – 5 pm

Friday, one of the most eclectic days in the light of Brazilian showcases, has heavy metal bands Eminence and Attomica playing at The Jr. Music from the Northen state of Pará will be represented by Gang do Eletro and their “tecnobrega.” For those into “funk carioca” with a little twist, Bonde do Role will be playing at the Flamingo Cantina.

On Saturday it is time for Gabriel Santiago Quintet to take the stage of the Elephant Room.

Dom La Nena is surely one of the artists you should not miss in 2013! That’s because when it comes to musical talent the Rio Grande do Sul native is everything but “little”, as her Spanish stage name designates.

Born Dominique Pinto, the Brazilian singer, composer and songwriter grew up among 3 countries: besides Brazil, she developed her talents in Argentina and also France. Her beginning in music started with the piano but it’s the cello, which she was introduced to years later, the responsible for making her ascend as a student and professional musician.

A pupil of Christine Walevska, an American better known as “the goddess of the cello”, Dom improved her skills in Buenos Aires before going back to Paris (where she lived during her childhood) at the age of 18 and sharing the stage with the actress and singer Jane Birkin.

Just as a lot of fellow citizens, Dom La Nena is still little-known in her motherland and began to draw the attention firstly in Europe and North-America. She currently has gigs booked in France and Italy and her debut album titled “Ela” was released in January by the American record label Six Degrees.

Described as poetic, authentic, a bit wistful and mature apart she’s 23 years old, the album has been being subject for reviews in the music sections of many important newspapers such as The New York Times, The Wall Street Journal, Le Journal de Montreal and also has popped up in various websites about culture and music on the Internet. Additionally, “Ela” features the special guests Camille, Thiago Pethit and Kiko Dinucci

The official video for its single from “No Meu País” is available on her website: http://www.domlanena.com