Gilberto Gil

When one sets out to play a song by Gilberto Gil, one encounters a sonic universe that goes far beyond what is heard at first glance. His music is a melting pot where rhythms like reggae, rock, samba, and bossa nova blend, creating something very unique. Since the 1960s, he became a key figure in that vibrant movement called Tropicalismo, sharing the stage with names like Caetano Veloso, Gal Costa, and María Bethânia. It is this mix of influences, this ability to take different genres and make them sound in his own way, that makes his proposal so particular and, for us who try to interpret it, so interesting.

There was a key moment in his career, around 1969, when the Brazilian dictatorship took him to prison along with Caetano Veloso. After being released, both were forced to leave Brazil. They settled in London, but before leaving, they recorded a farewell show that was captured on the album Barra 69. This exile, far from being a setback, became a stage of great experimentation. In London, Gilberto Gil had the opportunity to collaborate with musicians from bands as important as Pink Floyd and The Incredible String Band, and even composed the soundtrack for the film Copacabana mon amour. It was also during this period, in 1980, that he recorded a Portuguese version of Bob Marley's "No Woman, No Cry," titled "Não chores mais," which became a milestone, being the first hit with a reggae rhythm recorded in Portuguese in Brazil.