Every August, Medellín bursts into celebration with the Feria de Flores, a festival that draws tourists from all over the world. While the festival’s colorful displays and lively events, like the antique car parade, are crowd favorites, there is one event that stands out for its deep cultural roots: the Festival Nacional de La Trova Ciudad de Medellín. This year, the festival marks its 20th edition, bringing with it a unique blend of humor, music, and improvisation.
Photo by Hugo Villegas @hvillegas7
Understanding Trova: A Tradition of Improvised Lyrical Poetry
Trova is an art form that traces its origins back to Spain but has found a special place in Latin American culture. It’s a style of improvised lyrical poetry set to music, filled with humor and sharp commentary. In the realm of Trova, legends like Silvio Rodriguez, Pablo Milanés, Facundo Cabral, and Mercedes Sosa have made their mark in this storytelling tradition.
Most Latin American countries have developed their own version of Trova, reflecting their distinct identities. In Colombia, Trova has particularly flourished, with each region showcasing its unique style. This art form isn’t just about music; it’s a way for people to communicate stories, express ideas, and connect with each other in a fun and creative way.
The Festival Nacional de La Trova Ciudad de Medellín: 20th Edition Highlight
This year, approximately four hundred participants signed up to audition for the 20th edition of the Festival Nacional de La Trova Ciudad de Medellín. The contest is a unique event where two contestants face off in a lyrical battle to showcase their improvisation skills. There are few requirements to enter: the contest is open to all Colombian nationals over the age of 16 who wish to demonstrate their talent in lyrical improvisation, regardless of prior experience in the art form. Trova is a treasured part of Colombian cultural heritage, with each region having its own style. For this festival, the focus is on Trova Paisa, specifically trova sencilla, which consists of four-line verses, each with eight syllables, with the second and fourth line rhyming.
This and the past ten editions have been coordinated by William Giraldo Orozco, who has done an excellent job at bringing this event to fruition. The auditions and qualifying events were held across various locations in the city including El Teatro Pablo Tobón Uribe, the iconic Pueblito Paisa, and several shopping centers. Each event was well-organized, with an enthusiastic audience and live band providing additional entertainment. The rounds were hosted by the energetic and charismatic Mónica Londoño, who effectively managed the atmosphere and set clear guidelines for the audiences and the participants.
William Giraldo Orozco being interviewed by Colombian Jukebox at the Eliminatory Rounds at Pueblito Paisa in Medellín. Unfortunately, the interview will not be published due to excessive background noise.
A competent jury, consisting of former trova contestants, radio hosts, cultural managers, and university professors like Gilmer Mesa, is responsible for selecting the best participants at each stage. Out of the four hundred aspiring candidates vying for the title of King or Queen of Trova, only one hundred were chosen to advance to the qualifying rounds, which are divided into seven segments. From these, only twenty-four candidates will move on to elimination rounds, named after the fathers of Trova Paisa, Salvo Ruiz and Ñito Restrepo.
Audience Reactions and Participant Dynamics
I took a special liking to the audience. They were respectful and enthusiastic, cheering for their favorite candidates and maintaining silence when less favored participants performed. The crowd’s enthusiasm was palpable as they celebrated the advancement of their favorite candidates, with cheers and applause filling the venue. However, when less popular participants were chosen over their preferred contestants, there was a noticeable shift in the atmosphere. A palpable sense of discontent and disbelief spread among the audience.
The attendees included aspiring candidates for future editions and supporters of current participants. In speaking with spectators, one in particular, Milena, shared that she became a fan of trova in her early childhood. She vividly expressed her emotions, and her excitement shone through as she recounted happy memories with her late father, who introduced her to this art form.
Milena explains to Colombian Jukebox why Torva holds a special place in her heart.
This environment often serves as a platform for many to express their political opinions and social criticisms. Contestants are free to express their ideas, but must adhere to guidelines ensuring a respectful and safe environment. They must use respectful language, and offensive or insulting language towards other participants, organizers, judges, or anyone supporting the event is prohibited. Additionally, contestants are not allowed to use violence or engage in physical aggression, either on or off the stage. Participation under the influence of alcohol or drugs is also forbidden.
As I watched the contestants, it was clear they were under a lot of pressure, which sometimes led to commentary that, in my view, was inappropriate and off-color. It’s similar to a rap freestyle, where things can slip out without malicious intent. The gender imbalance was noticeable, with about one woman for every five men. I found it particularly annoying when male contestants resorted to flattering comments about the women’s beauty or talents during their face-offs. While I appreciate gallantry, this felt over the top. The women, however, handled it well, responding with clever and sharp comebacks.
The Growing Popularity of Trova: Influences and Trends
The growing popularity of trova in Colombia can be attributed to several key factors, with influencers like Lokillo, born Yédinson Ned Flórez Duarte playing a crucial role. As a former trovador who won the Rey Nacional Infantil de la Trova in 2001 and later became a celebrated comedian, Lokillo has used his platform to introduce and inspire a new generation of enthusiasts from all walks of life to explore trova.
Wilson Galeano, known as Güeso, composing a trova for foreigners interested in living in Medellín.
Radio shows and television programs dedicated to showcasing trova have brought the art form into the homes of many Colombians, significantly expanding its audience. Cultural festivals and competitions, such as Astrocol, Feria de Manizales, and Festival de Trova Orquídea de Oro, provide vital platforms for trovadores to display their talents and engage with both new and seasoned audiences. Educational initiatives in schools and cultural institutions have also been instrumental, teaching the younger generation the skills and history of trova.
The Grand Prize: Rewards and Opportunities for the Winners
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Congratulations to Alejandro Marín Lopera for his third win as King of Trova, Festival Nacional de la Trova Ciudad de Medellín
The grand prize for the winner is quite enticing. It includes 20 million pesos, plus any additional earnings from the qualifying rounds—because extra cash is always welcome. The winner also takes on the role of National Ambassador for Colombian Trova, a title that comes with the responsibility of representing and promoting this cherished art form. On top of that, they’ll have the opportunity to travel internationally, showcasing Colombian trova at events around the world. It’s a prize that combines recognition, financial reward, and global exposure, making it a truly impressive package.
Reading is one of my greatest pleasures. Aside from music, one of the best ways I have been able to better comprehend and understand Colombian culture is through literature. Reading Colombian literature has filled in the gaps of situations I haven’t been quite able to understand.
In this blog, we will explore five books that offer an overview of Colombian history, culture, and people. Each book captures a different aspect of Colombian life, from historical conquests and personal memoirs to the impact of modern events and the exploration of urban scene through various narratives and perspectives.
Santa María del Diablo by Gustavo Arango
Overview:
Santa Maria del Diabloby Gustavo Arango is a gripping historical fiction novel that tells the story of the first Spanish city founded in Tierra Firme. The novel, which won the Best Historical Novel in Spanish by the International Latino Book Awards, vividly reconstructs the Spanish conquest of the New World in an unprecedented way.
Historical Context:
The story unfolds in the early 16th century, nearly two decades after Christopher Columbus’ first voyage to the New World. Two narrators, 500 years apart, recount the establishment of Santa María de la Antigua del Darién, the first Spanish city founded in Tierra Firme. Gonzalo Fernández de Oviedo and an anonymous narrator provide a detailed account of the brutal and violent beginnings of Spanish settlements in America, drive by the pursuit of glory, power, and wealth.
Santa María de la Antigua del Darién, located in present-day Colombia in the Department of Chocó, was founded in 1509 by Vasco Nuñez de Balboa. The city was built with high expectations from the Spanish Crown due to its abundance in natural resources and metals. Historial figures such as Francisco Pizarro (conqueror of Perú), Pedrarias Dávila (founder of Panama City), Vasco Nuñez de Balboa (discoverer of the Pacific Ocean), and Gonzalo Fernández de Oviedo began their missions here. Tragically, around two million indigenous people were murdered during this time.
Why I Love It:
Gustavo Arango’s story telling is among my favorites from contemporary Latin American authors. Each chapter in Santa Maria del Diabloreads like a short story, often beginning with its end and guiding you through an intriguing loop. His narrative masterfully blends fact and fiction, depicting the confusion and destruction of the native populations, the richness of the natural environment, and the awe Europeans felt towards the New World.
This book is perfect for anyone looking to deepen their understanding of Latin American history. Among the many stories of the Spanish conquest, this one has been overlooked and not throughly explored, but Gustavo Arango has delivered. It’s dramatic and suspenseful, providing a deep reflection on our identity and heritage.
He visto la noche by Manuel Zapata Olivella
Overview:
Manuel Zapata Olivella is one of Colombia’s most influential writers, known for his contributions to Afro-Colombian literature. His work explores themes of race, identity, and the African diaspora, making him an important figure in understanding Colombia’s culture scene. He visto la noche is a memoir that chronicles Zapata Olivella’s experience and observations during his travels through the United States. His journey begins in Mexico shortly after the atomic bomb detonation of Hiroshima and Nagasaki, providing a unique perspective on the intersection of Colombian and United Statesean cultures while reflecting on the complexities of identity and diaspora.
Cultural Context:
In He visto la noche, Zapata Olivella shares his reflections on the diverse society he encountered in the United States. The memoir is a collection of his personal experiences and interactions with people from various walks of life, highlighting cultural and social nuances he observed. Though deeply personal, the narrative serves as a bridge between Colombia and North America.
Why I Love It:
As someone who grew up within the complicated nature of identity politics of the United States, this book serves as a reference for how foreign people of color perceive the unjust, violent, and cruel realities of the country. The memoir begins in Mexico, post-World War II, where Zapata Olivella attempts to document the atomic bomb tests in the Bikini Atoll as a representative of a Mexican magazine. His journey takes him through the Midwest, Northeast and Jim Crow South of the United States.
He shares his reflections on the assimilation process of immigrants, his encounter with Langston Hughes, financial difficulties, and the prejudice that people of color experienced in the 1950s. He visto la noche is an important read for anyone interested in understanding the broader context of Afro-Colombian identity within the United States.
El árbol de guayacán by Dany Hoyos
Overview:
El árbol de guayacánby Dany Alejandro Hoyos, known for his character Suso El Past, is an emotional fictional narrative that intertwines the loss of his grandfather from COVID-19 with a broader social catharsis. The book recounts his family’s loss within the social context of the pandemic in Colombia, connected by memories in Ituango, a town in Antioquia that was affected the conflict in the country. The book is authored by a comedian that creates a universe of laughter and tenderness to his his own wounds.
Social Context:
El árbol de guayacán offers a profound depiction of how a traditional family navigated the pandemic in Colombia. The story captures the stubbornness of older family members amidst the contingency, the melancholy of a Christmas spent in Medellín during the crisis, and the struggles of a comedian whose job is to bring laughter amidst such a challenging time. It also reveals the deficiencies of the country’s medical system and sheds light on collective suffering.
The book also delves into the effects of Colombia’s armed conflict. This conflict, deeply rooted in Colombian history, has persisted for over 60 years, predating the surge of illicit drug trade. Despite the connection between the two issues, the armed conflict remains a distinct and long-standing national crisis.
Why I Love It:
The best part about El árbol de guayacánby Dany Hoyos is his ability to capture universal experiences. One of my favorite stories is his visit to his grandfather in Ituango, where he feels out of place as a city kid but longs to belong. This mirrors my own experiences visiting Colombia when I was a child. Hoyos illustrates that the sense of being an outsider transcends borders and is a common human experience.
This book is an honest portrayal of the complex emotions we all face but often shy away from discussing. Hoyos confronts feelings of envy, anger, helplessness, desperation, and solitude in a genuine account o the human condition. His ability to shed light on these emotions offers his readers a comforting sense of shared vulnerability.
La Cuadra by Gilmer Mesa
Overview:
La cuadrawritten by Gilmer Mesa, is a gripping novel set int eh tumultuous 1990s in Medellín. The story is a vivid portrayal of a neighborhood caught in the crossfire of violence and upheaval during one of the city’s most notorious period.
The novel takes place in La Cuadra, a fictional neighborhood that mirrors the reality of many communities in Medellín during the height of the drug wars and social unrest. Mesa, drawing from his own experiences growing up in Medellín, provides an authentic and immersive depiction of life in this era.
Social Context:
We all know about the 1980s and 1990s in Medellín.
Why I Love It:
I usually avoid discussing this dark chapter in Colombian history because of the deep mark it has left on our society. It’s an experience that’s hard to fully grasp unless you lived through it, were close to those who did, or have traveled with a Colombian passport. Also, this period has been extensively covered, with Hollywood continuing to capitalize on its grim and distressing narrative.
However, La Cuadra stands out because it touches on aspects that movies and documentaries often overlook—the social and cultural impact of the era. The book was written by someone who lives this on a first hand account, and although fictional the novel is able to accurately transmit the message on how violence created an atmosphere of fear and distrust among residents, straining social cohesion and severely impacting community life. This perspective provides valuable insight into the present-day paisa community.
Th book also highlights the role of women during this time, exploring how violence and misogyny intersected in this period of time. This examination of the female experience adds depth and understanding to a story told over and over again.
Las cosas que ya no están by Tatee
Overview:
Las cosas que ya no estánby Tatee is a graphic novel that follows a reader as she commutes through Bogotá at the end of the day. The city’s attributes, along with the margin notes in a book by Hebe Uhart that she carries, evoke memories of a past love. The story explores themes of absence, its tangible forms, and nostalgia. It is also a reflection on the solitary journey of grief and coming to terms with the feelings brought about by things that are no longer present.
This book won the 2022 Beca para la Publicación de Libro Ilustrado: Álbum, Cómic o Novela Gráfica from the Ministerio de Cultura, Colombia.
Social Context:
The graphic novel Las cosas que ya no están by Tatee is set against the backdrop of Bogotá, a city known for its rich history, cultural diversity, and hustle. However, as many have experienced in large urban centers, this hustle comes with a sense of solitude. The book also addresses the important yet often overlooked topic of mental health in Colombia.
Why I Love It:
I came across Las cosas que ya no están during a reading slump. It was a time when I didn’t know what to read, and while scrolling through social media, I found this recommendation. Graphic novels are great for those in my situation and for anyone who struggles with traditional texts.
In this book, the illustrations sometimes speak louder than words. Tatee’s use of color delivers an immediate and powerful emotional impact, bringing Bogotá to life.
Her storytelling, combined with the depiction of Bogotá, captures the city’s essence while conveying a powerful message. It’s a compelling and accessible read for a wide audience, especially those who wish to immerse themselves in Colombian culture but may lack the language skills.
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There is an inherent power in straddling multiple cultures, a skill set that enables one to seamlessly adapt to different environments. New York City stands as a beacon of perpetual change, an ever-evolving metropolis that challenges and scrutinizes your essence and intentions. It beats to the rhythm of identity politics and the relentless spirits of its inhabitants. Yet, amidst the ordered chaos, New York offers a unique embrace found nowhere else in the world.
I was introduced to Alea a while back and was instantly captivated. Her art captures a part of my identity, integrating two cultures into the essence of a strong woman. Her music resonates with my own experiences, blending Colombian roots with New York’s dynamic energy. Familiar with Alea’s work, I arranged to visit her shortly after my arrival in New York City.As I made my way to her home studio apartment, the city’s energy resonated deeply. New York, the city where I grew up, has not only shaped my identity but has also influenced Alea’s artistic journey. Her music has been an unwavering source of inspiration, guiding my own path as I explore my own identity.
Alea and I at Rolling Stone’s Musicians on Musicians Latino with Myke Towers and Ovy on the Drums in New York City.
The Bicultural Experience: Alea’s Unique Perspective
The prefix “bi” carries significant weight, loaded with connotations of versatility and adaptability; bilingual, bicultural, bipartisan, bisexual. It signifies not only the ability to navigate multiple realms but also the responsibility that accompanies such duality. It’s a badge one wears proudly, symbolizing the constant balancing act of appeasing two sets of expectations. Yet, this versatility often comes at a personal cost, demanding continual negotiation and sacrifice.
Alea’s journey is a testament to the multifaceted nature of being ‘bi—,’ a lesson she learned while growing up between the hustling vibes of Medellín and the serene charm of La Guajira. She accepted and understood the complexities of living with privileges in a community that often experiences limitations. This balance became the cornerstone of her development, giving her a distinctive perspective on music and identity, the edge to pursue her goals, and the skills necessary to thrive in a city like New York while bringing her artistic project to fruition.
During the early days of Colombian Jukebox, I highlighted Alea as an artist to watch, sharing my thoughts on her 2016 self-titled album. Among the tracks, “Navegando Bocabajo” stands out as a favorite. It is a moving fusion between jazz and cumbia that touches on the therapeutic power behind dance in the face of Colombia’s complex reality. Equally captivating is “Fuente”, a soulful poem that closes the seven-track album, where she reflects on the spontaneity and the liberties found in the creation process.
Todo surge así, repentino, sordo imune Nace cada partícula antes de ser nada Solo es Se juntan y dan formas porque sí Pues es su gesto más puro El crear porque su existencia exige crear o morir Los gestos de nuevo como el primer sueño El alboroto de ese primer beso Cuando ese algo aún era nada Y que canta libre porque puede ser nada
This album was a powerful introduction that showcased her musical prowess and that foreshadowed what was to come. After a self-financed tour of the album through major cities in Colombia, Alea sought her relocation to New York City which would solidify her career as an independent artist.
Photo by Spencer Grundler
Alborotá: A Crowdfunded Journey to Cultural Reconnection
New York was a breath of fresh air for Alea. As she describes in our interview, “New York gave me so much freedom as a woman, as an artist. It was the city that gave me permission to do whatever the hell I was dreaming of. And that is something for which I am the most grateful to this city.” While in New York, she had the opportunity to teach and be a lead performer at Folklore Urbano, a musical production company funded by Colombian pianist/composer Pablo Mayor and flutist, Ana Povich de Mayor.
There is something inherently transformative about being uprooted from your culture, from my observations it particularly transcends those who immigrate at the earlier stages of life. After a successful time as a student at Berklee, where she immersed herself in the intricacies of jazz, she felt it was time to explore her roots further and delve into the Colombian musical traditions.
“At that time I really wanted to go back to folklore because I had done jazz for many years. It was time to go back to the roots to study them a little further and learn how to integrate them [to jazz]“
Living in New York made her move beyond idealizing opportunities to realizing them. After being awarded a residency at Greenwhich House Music School, Alea learned the skills to turn her visions into reality. Envisioning a choreographed dance in her music video, she learned the necessary skills during her residency to bring it to life—from mastering breath control for singing and dancing to effectively engaging with the audience and directing a band.
Music video for ‘No me apaga nadie’. One of my favorites from the “Alborotá” production.
Another cultural heap and challenge for her, and many independent artists, is learning how to fund their projects. After finding a producer for her next project, Sinuhé Padilla, Alea initiated an Indiegogo campaign to bring it to fruition. She successfully raised an impressive $12,000 in just 30 days, providing the seed money needed to begin recording the album and producing the video clip, which would pave the way for future shows and further funding opportunities.
In 2021, after four years in the making, Alea released her sophomore album, “Alborotá,” a powerful exploration of self-empowerment and cultural reconnection. She drew inspiration from her own life, reclaiming words with negative connotations used to describe her unyielding personality, into anthems of resilience and empowerment.
“Así me decían Oye niña Alborotá
Y ella como buena dama Se hacía la loca Ya ni miraba
Tomaba su mochila, su maraca y su andar Correteaba aquí, correteaba allí Ella no miraba atrás
Comentaban los viejos Oye niña Alborota
Que tanta curva con merengue Tu cuerpo, una maldad Y caminaba con precaución Con miedo y moderación
Hasta que un día Alzó la vista y decidida declaró
Y me decían alborotá Pero alboroto es el que yo propongo Que se pongan pilas Mi compadre que vinimos fue a soná
Adapting to Adversity: Pandemic Reflections and the Future of Alea’s Music
If there is one thing we can all agree on about the pandemic, it is that it brought about change. For Alea, this change came through the validation of her emotions. After leaving a long-term relationship, she was confronted with feelings she had previously avoided writing about.
As she described in our conversation, emotional literacy is as important as math. The generational and cultural stigma surrounding this topic often fails to acknowledge burnout, recognize gaslighting as a form of violence, or promote emotional accountability between people.
“Happiness isn’t just this thing that goes outside and is about celebrating all time and being exuberantly joyous. It’s also about acceptance and it’s also about being genuine with yourself, and authentic and finding the roots to that place.”
Despite her aversion to writing about the “gooey stuff”, she felt it necessary to validate what was happening at the moment, as it was happening. This new chapter sparked a completely new musical production that takes place between, New York, Miami, and Colombia.
“Rompe To’, a single from her new production ‘Deja Que Se Rompa Todo’, anticipated for release in 2025, has already garnered significant recognition. The song, also which also gives title to her upcoming album, was chosen by the curators of NPR’s Tiny Desk contest as the Tiny Desk of the Day in March 2024.
The album, deeply personal and a celebratory journey of recognizing emotions, features collaborations with important industry producers. Alea mentions the incredible opportunity of working with Latin Grammy Award-winning producer Maria Elisa Ayerbe, whom she describes as genuinely invested in promoting the growth of other women in the industry. Mr. Pauer, who recently released a single with Goyo from ChocQuibTown, leaves his electronic mark on one of the tracks.
Esteemed producers such as Edgar on the Beat, Felipe Fournier, Matuk, Natalia Hernandez, and Pablo Ahogado are also contributing to bringing this cathartic album to fruition.
The first single of this album, “Sol de mediodía,” is an R&B tune inspired by artists like H.E.R and Alicia Keys. Produced by Maria Elisa Ayerbe and Edgar on the Beat, the song offers a soulful reflection on overcoming heartbreak as she embraces her inner strength, cherishing every moment life has to offer.
The music video to ‘Sol de mediodía’ was filmed by La Oculta Productions in Santa Elena, Antioquia
The Future of Alea’s Music: An Ongoing Journey of Innovation
Alea’s narrative is a powerful testament to resilience, cultural reconnection, and emotional authenticity. Her story is a powerful and inspiring reminder that we are multifaceted and changing beings. As she continues to break boundaries and challenge norms, Alea stands as a beacon of empowerment and creative evolution, leaving an indelible mark on the music scene.
Join the Journey
Discover more about Alea’s incredible journey by following her on social media, streaming her music, and supporting her upcoming projects. Stay tuned for her new singles and album release, and join us in celebrating the fusion of cultures and sounds that define her unique artistry.
Vinyl records have made a remarkable comeback amidst the immediacy and convenience of the digital age. In Colombia, Medellín holds a special place in the country’s musical legacy. Major international record labels like Discos Fuentes, Codiscos, and Sonolux operated out of the City of Eternal Spring, serving as key players in shaping the soundtrack of Colombian youth for decades. Apart from radio, vinyl records were the primary medium for listening to music. With the largest vinyl manufacturing facility in the country, Discos Fuentes could press and distribute records both nationally and internationally, thus entering the homes of many Colombians and, eventually, the world. This golden era lasted until the 1990s, when piracy and the internet began to take over.
Today, a passionate community of vinyl enthusiasts is thriving, cherishing the tactile experience and the rich sound of records while rescuing memoires and building new ones. However, the future of vinyl is a subject of debate among some of Medellin’s record store owners—and naturally, Billie Eillish. In this blog, we explore the meaning behind record sales and the contrasting views on vinyl’s destiny.
The Cultural Significance of Vinyl Stores
Vinyl stores offer a sense of community. Regular customers often become friends, sharing recommendations and bonding over shared musical taste. In Medellin, vinyl stores are more than just a place to buy music; they are cultural hubs that offer a nostalgic journey back to an era when music was physically purchased and represented a significant economic driver for the city. A few blocks east of Plaza Botero in downtown Medellin, you’ll find a few vinyl store owners passionately describing the city’s golden age of records.
At a panel on the importance of Record Store Day at the 2024 BIME conference in Bogotá, La Roma Record executive César Sánchez Olín described vinyl stores as indispensable as libraries. He claimed that they are corporate bombs, spreading art and culture, and that their absence would be a strike against artistic expression.
Panel discussion at the 2024 BIME Conference in Bogotá: ‘¿Qué es y para qué sirve el Record Store Day (RSD)?’ featuring César Sánchez (RSD Mexico – Director), Rodrigo Duarte (RSD Colombia), Julián Correchea (RPM Records – Partner), and moderator Eduardo Rendón Benítez. Photography by Iván Zainea (Sonido Libre Podcast).
Since the pandemic, there has been a spike in the opening of record stores. It was a time saturated with online connections like Zoom meetings with colleagues, family, and friends, social media interactions that provided a semblance of #humanconnection, and a boom in online shopping. Among the new online retailers were vinyl stores on Instagram and Facebook, which continue to thrive today. Even brick-and-mortar stores have established an online presence; it’s indispensable now. However, walking into a store and being guided by knowledgeable staff, discovering new music, analyzing the cover art, reading the credits, and inspecting the actual vinyl is irreplaceable.
The Collector: Passion and Purpose
For millennials, Gen Z, and the generation that starts the alphabet again—Generation Alpha—the resurgence of interest in vinyl is part of a broader interest in analog culture. People seek authentic, high quality experience that digital formats sometimes lack. But for those who have been collecting records since their adolescence or even childhood, the appeal goes far beyond nostalgia.
At another panel I attended at the BIME conference, Jaime Andrés Monsalve, explained that his motive for collecting records is his desire to have the complete repertoire of artists he enjoys. When CDs replaced vinyl, labels began producing anthologies or greatest hits collections. It’s difficult to find complete CD albums from artists like Lucho Bermudez or Pacho Galan; instead, you find compilations or greatest hits.
Dennis Murcia, Global Marketing Consultant, Business Development, and A&R at Codiscos, said, “Digital is convenience, vinyl is experience”. There is something more democratic and transparent about vinyls. They generally included detailed credits that list all the individuals who contributed to the music, such as musicians, producers, engineers, and graphic designers. Most include liner notes and inserts that often provide additional context, such as the story behind the album, lyrics, dates, and recording locations. By ensuring recognition for all contributors, the listening experience fosters a deeper connection between the audience, the music, and the people involved in creating the art. Something digital music doesn’t allow for.
Navigating Challenges, Finding Inspiration
In speaking with William Martínez, owner of El Jibarito, a salsa bar and LP store in downtown Medellín, we discussed the drive behind collectionists. He described a profile that he has seen over his trajectory as a vinyl salesperson. He said that some collectors are driven by competitive rather than genuine passion for music. According to Martínez, the desire to own rare or exclusive items lead collectors to prioritize acquisition over appreciation, often driven by an extrinsic factor—showing off. He suggests that the true appreciation of music lies between the listener and the music itself and not in a race to own the most coveted items.
There are environmental considerations that must not be ignored. In a recent interview centered around environmental activism for Billboard, Billie Eillish called out the “wasteful” ways the “biggest artists in the world” sell an overwhelming amount of vinyl variants to secure top spots in charts. Despite her critique, Eillish doesn’t exclude herself from these exploitative practices, but she has taken steps to mitigate her impact by pressing her new album Hit Me Hard and Soft on recycled or eco-vinyl, with packaging made from recycled materials.
The production of vinyl records involves PVC (polyvinyl chloride), which is not environmentally friendly, releasing harmful chemicals during manufacturing and contributing to long-term environmental damage. Additionally, the extensive packaging including plastic wrap and cardboard, adds to the waste generated by vinyl sales.
As a community driven by our passion for music, we must not forget the environmental footprint our hobbies may leave behind. While the tactile and nostalgic appeal of vinyl is undeniable, it’s important to consider sustainable practices in both production and consumption. This includes supporting eco-friendly vinyl options, minimizing packaging waste, and purchasing used vinyls.
Cultivating Growth: Stories from the Medellín Vinyl Community
Jorge Ivan De La Hoz runs El Sindicato del Vinilo, a cozy vinyl store located within a cultural house in Boston, right in the heart of downtown Medellín. He doesn’t just see vinyl as a business; he sees it through a cultural lens. Through his and his partner’s initiative, Casa 3951, he hosts lively discussion panels and vinyl parties, creating a space where music lovers can come together and connect through the vinyl scene.
Beyond his storefront, he’s a fixture at the Lost and Found festival, a traveling event that he joins several times a year. Here, he sets up his stall, offering a diverse selection of records to offer music fans that stop by.
In our chat, he exudes confidence in the ongoing growth of the vinyl industry. He shares a heartwarming storey about a 16-year old customer who’s incredibly passionate about music. Accompanied by his mom, this young enthusiast frequents the store to add classic rock vinyls front he 60s and 70s to his collection, diligently saving up for each new addition.
Conclusion: Embracing the Harmony of Vinyl
Vinyl records, once the cornerstone of Colombia’s musical landscape, have reclaimed their space in the hearts of music enthusiasts worldwide. Despite facing challenges that are brought upon the digital age, record stores have evolved into cultural hubs, preserving memories and forging new connections.
As we look ahead, the vinyl community remains ripe for optimism and growth all while ensuring that we continue leaving a positive legacy for future generations.
It was a very cold first day of spring in Williamsburg, New York—just a day shy of my return to Medellín—where I found myself really excited to chat with Daniela Serna, a talented NYC artist and Colombian musician who’s made waves as a percussionist in New York. My introduction to Daniela was as modern as they come: an Instagram Reel showcasing La Manga, an all-female ensemble delivering soulful Colombian music, with my favorite place, Gantry Park on the backdrop. Add to that Manuela Agudelo’s mesmerizing dance, and I was hooked.
Our initial recording spot, a residential building in Williamsburg, turned out to be a non-starter thanks to some unexpected no-recording rules. But in true New York fashion, we pivoted on the spot. Determined not to leave the city without having a conversation with Daniela, we found ourselves at Sapphire Deli on the corner of N 4th Street and Kent Avenue, transforming a corner deli into our impromptu recording studio.
Crossing Borders and Breaking Stereotypes
Daniela is a seasoned NYC artist and Colombian musician, having learned her skills at La Universidad Distrital Francisco José de Caldas. Beyond her formal studies, her artistic journey has been shaped by travel and learning from influential artists like Pabla Flores, Emilsen Pacheco and Latin Grammy Award-winning Petrona Martínez, Daniela has created diverse and richly layered artistic journey. As a traveling artist, Daniela brings traditional Colombian rhythms like mapalé, cumbia, and bullerengue to life through tambores, and gaitas profoundly shaping her world view. Additionally, living in New York City for nearly two and a half years, she has seized every opportunity with hard work, persistence, and an openness to breaking music stereotypes, taking the city’s music scene by storm.
Daniela Serna at the Nimoy Theater, Los Angeles
Her artistic narrative is deeply rooted in female collectives. From her early days with La Perla and Aguasalá in her native Bogotá to her pivotal role in LADAMA since 2014, Daniela has championed collaborative efforts. LADAMA, a groundbreaking ensemble comprised of Lara Klaus from Brazil, Mafer Bandola from Venezuela, and Daniela Serna, was born out of ONEbeat, an international music exchange program celebrating musical collaboration and social engagement.
LADAMA. Lara Klaus, Mafer Bandola, and Daniela Serna. Photography by @shervinfoto
At the core of her creative ethos lies a commitment to challenging norms, including her notable participation in all-female bands. She embraces her identity as a woman in music with confidence and authenticity, setting her apart in the industry.
“Soy capaz de todo quiero grabar la música que me nace del alma de las entrañas, obvio quiero que a la gente le guste, pero a la que a mas le tiene que gustar, y la que está pegada escuchando la música, soy yo.”
Embracing Opportunities as an Octopus Artist
For Daniela, New York City isn’t just a backdrop—its a muse that reciprocates her creative passion. From the get-go, the city has encouraged her artistic evolution. Its where she’s crossed paths with other creatives that have paved the way for collaborative ventures like La Manga, the all-female ensemble that initially caught my eye and introduced me to her. The city vibes have also led her to join forces with an all-female salsa orchestra, La Lulada—a unique gem with an all woman lineup in the heart of the city that birthed salsa.
“Una manera de contar mi historia, que me gusta, y que he logrado aquí en Nueva York, es sentirme como un artista pulpo. ¿Sabes? Es como que tengo varios tentáculos y como que no tengo que tener un solo perfil como músico.
AKUPERCU: LO-FI Meets Latin Beats
At the heart of Daniela’s musical journey is her solo project, AKUPERCU, which culminates in her upcoming album, LO-FI TAMBO. Featuring the debut single ‘No Paren,’ the album’s production captures the energy of New York City and the rhythmic spirit of Puerto Rico. It was recorded by five Colombian producers, including two talented women, and Puerto Rican producer Toxic, known for his work with Tego Calderón.
LO-FI TAMBO is a percussion-driven exploration, fearlessly blending electronic sounds with traditional rhythms like plena-lofi, rap-mapalé, change-lao, and bachata footwork. The album will premier during Daniela’s European tour, with shows in Barcelona, Vienna, and Paris this summer 2024. The album’s Colombian production credits include Pernett, Matuk, Monokike, Katherine O’Campo, and Carolina Duran, adding depth to the mix.
AKUPERCU at the Brooklyn Public Library Photography by @empeliculado
Recently I had the privilege of a private listen to the album, and its packed with infection beats. The sound immediately transport me to a warm, lively place, embodying Daniela’s unmistakable energy.
“Si creo que mi sonido ha evolucionado, con Akupercu puntualmente y este disco que voy a lanzar, Me di todo el espacio para jugar y experimentar. Listo me gusta una cumbia, o una plena, pero quiero una plena lo-fi”
Cultural Exchange Tour with LADAMA
Earlier this year, Daniela took on an opportunity with LADAMA, which she fondly refers to as a “work-show”—a didactic space and cultural exchange facilitated by World Fest, a project sponsored by Arts Midwest. Having the opportunity to go into elementary and middle schools across the upper Midwest states of North Dakota, South Dakota, and Minnesota, Daniela and LADAMA were able to craft a musical bridge between Latin American heritage and United Statesean culture.
She introduced students to a diverse range of instruments, from the gaita corta—a Colombian indigenous wind instrument native to the Kogui nation in the Sierra Nevada de Santa Marta—to the bandola llanera, a string instrument from the Eastern Colombo-Venezuelan plains, and the tambor alegre, a percussion staple in the Caribbean region of Colombia.
The students were captivated, embracing the sounds with enthusiastic body percussion and dance. This cultural exchange not only served as a welcoming embrace for Latinos newly arrived to the country but also sparked an interest in language learning among the native students.
Daniela Serna at a didactic musical and cultural exchange sponsored by Arts Midwest. Photography by Janet Eckles
For Daniela, this experience was also a rich learning opportunity, allowing her to connect with indigenous communities, like the Lakota, and deepen her understandings of their heritage and traditions.
“Dakota fue super importante porque Dakota es territorio indigena. La palabra Dakota es una palabra indigena. Recorrer esos espacios son muy importante para nosotras porque nos permite entender en que lugar estamos, entender la realidad social y cultural de este país.”
Redefining Music with Resilience, Creativity, and Passion
As our conversation wrapped up, it was evident that Daniela Serna is the embodiment of resilience, creativity, and passion. From her ground breaking projects like LADAMA to her solo venture AKUPERCU, Daniela continues to challenge the status quo and redefine what it means to be a musician in today’s fast paced world.
Daniela Serna and Rebecca Liloy at Sapphire Cafe in Brooklyn
Her journey from the streets of Bogota to the hustle and bustle of New York City serves as an inspiring testament to the transformative power of music and collaboration. With her upcoming singles on the horizon, there is no doubt that Daniela’s star will continue to rise.
As we parted ways, I couldn’t help but feel grateful for the opportunity to dive into the world of a truly remarkable artist. Daniela Serna’s story is a reminder that when passion meets perseverance, the possibilities are endless. So, keep an ear out for Akupercu, and get ready to embark on a musical journey unlike any other.
Within the rich history of Colombian music, artists often navigate the delicate balance between national anonymity and international acclaim; Abelardo Carbonó is the embodiment of this phenomenon. Colombian Jukebox, alongside musician and record collector Masilva, have embarked on a journey on YouTube to uncover the hidden gems of Colombian music, starting with a Carbonó masterpiece. The exploration begins with Carbonó’s 1980 album, “Guana Tangula,” which serves as a testament to the innovative spirit and the cultural fusion that defines the richness of Colombian music.
Watch on YouTube
The Musical Legacy of Abelardo Carbonó
In our quest for musical exploration, Masilva introduced me to several albums by artists previously unknown to me. Among them was “Guana Tangula,” a captivating work that immediately captured my attention with its striking cover art. The painting depicts a scene reminiscent of Colombia’s northern desert region with a group of people gathered in a dry landscape, dancing and celebrating beneath the blue skies.
Masilva and I crate digging at Archivo Musical in Medellín
His descriptions—”Steaming hot Guana Tángula,” “You can party all the way through it,” “Wicked Shit!,” “Gozadera Garantizada”—painted a vivid picture of the album’s energy and vibrancy. Masilva’s enthusiasm for the album proved contagious. As I immersed myself in the music, the sounds and rhythms transported me back to my youth in the Caribbean region of Colombia, reminiscing on moments spent with family and friends. The lyrics of “Guana Tangula”, some in an unknown language, heightened my sense of nostalgia, serving as a celebration of life. The light and refreshing tones added to an unforgettable auditory experience.
Sharing this listening experience with Masilva is truly remarkable. He has been a longtime fan of Abelardo Carbonó and in 2015, had the opportunity to collaborate with the legendary artist on a two-track EP titled ‘Masilva Carbonó’. The EP was edited by Masilva before signing to Tambora Records. He brings a unique perspective to the discussion, drawing from his firsthand experiences as a musician and collaborator.
Abelardo Carbonó: A Maverick in Music
Abelardo Carbonó’s musical journey is as intriguing as his compositions. Born in Ciénaga, Magdalena, in 1948, Carbonó carved out a niche for himself as a guitar player, singer-songwriter, and innovator. Alongside his brothers Abel and Jafet, Carbonó formed a band in the coastal city of Barranquilla, where they released their most influential work in the late ’70s and early ’80s. He was also known to be a police officer.
Despite a period of relative obscurity, Carbonó’s music experienced a resurgence thanks to champeta compilations published by Lucas Silva, director and founder of Palenque Records along with Soundway Records in 2010. However, it wasn’t until 2013, when Spanish label Vampisoul edited a seventeen track compilation of his songs in a two-vinyl edition, that truly brought him back to the public eye, and initiated his tour around Colombia and Europe.
A Google search of Abelardo Carbonó is full of headlines that hail him as the godfather, precursor, and champion of champeta—a Colombian music genre originating from the Caribbean region. However, in an interview with El Heraldo, Carbonó humbly deflects these titles, emphasizing that he does not consider himself the creator of champeta; rather, it’s a moniker bestowed upon him by his followers. He describes his guitar playing as instinctive rather than premeditated, likening it to the approach of a foreigner discovering the instrument anew. Carbonó was acutely aware of his role in music, viewing himself not as a mere performer, but as a designer of sound.
Fabián Ahimada, Abelardo Carbonó, and Masilva at Einar Escaf’s Studio Photography by Nadina Marquisio
Proud of his Afro and indigenous roots, Carbonó identifies with Afro-Latin music and embraces his cultural heritage. While he expresses a hint of resentment towards his relatively modest recognition in Colombia, he takes pride in his acclaim abroad, where his music has found an audience.
Tragically, Carbonó’s life was cut short by COVID-19 complications in 2021, leaving behind a legacy that continues to inspire and captivate audiences worldwide.
Guana Tangula: A Musical Journey
Carbonó’s second studio album, “Guana Tangula,” was originally released in 1980 by Costeño-Codiscos and most recently re-released in 2020 by VampiSoul-Munster Records. The album stands as a testament to his creative vision and musical prowess. Recorded exclusively with acoustic guitars—a departure from his usual electric sound—the album showcases a diverse range of influences, including African Soukus, Afrobeat, Highlife, Vallenato, Cuban son, and Guaracha, as well as elements of rock and roll.
Masilva’s insights into the album’s intricate guitar work, hypnotic rhythms, and infectious energy provide a deeper understanding of Carbono’s genius. His insights offer a deeper understanding of Carbonó, highlighting the album’s intricate guitar work, hypnotic rhythms, and the infectious energy of the selected tracks we listen to in the video. His passion for Carbonó’s music shines through, making him the perfect guide through the labyrinthine world of “Guana Tangula.”
Don’t Miss Out on the Experience
“Guana Tangula” is more than just an album—it’s a musical journey that invites listeners to explore and discover. Join Colombian Jukebox and Masilva as they delve into the depths of Carbonó’s masterpiece, uncovering the magic that lies within its grooves.
Support Colombian Music
Show your support for Colombian music by purchasing “Guana Tangula” and exploring other works by Abelardo Carbonó. Your contribution helps preserve the legacy of artists like Carbonó, ensuring that their music continues to inspire future generations.
NPR Tiny Desk concerts, known for intimate performances, have featured Colombian music and artists, showcasing their soulful talents globally. From its humble beginnings to its expansive reach, Tiny Desk has been instrumental in broadening musical horizons. For me, it’s been a treasure trove of discovery, allowing me to visually match sounds and immerse myself into musical diversity. This article shines a spotlight on five Colombian artists that have graced the Tiny Desk stage, both at the NPR offices in Washington, DC and at remote locations.
The Story Behind NPR’s Tiny Desk Concert
Tiny Desk concerts began in 2008 as an intimate series of performances hosted at Bob Boilen’s desk at NPR. The idea began after Bob Boilen, the former host of All Songs Considered and Stephen Thompson left a South by Southwest performance frustrated because they couldn’t hear the music over the crowd noise. Bob Boilen suggested that the performer, Laura Gibson, should just go and perform at his desk, which happened a couple of months later. The Tiny Desk brand has expanded to include Tiny Desk (Home) Edition during the pandemic. Additionally, the Tiny Desk x globalFest series was an initiative created to promote international music discovery. They also have international presence with Tiny Desk Korea and Tiny Desk Japan.
Tiny Desk received a lot of initial criticism for their narrow hipster-indie music curation. However, as they have grown, they have included all kinds of genres into their program, doing an excellent job at celebrating musical expressions from all around the world.
Tiny Desk concerts have been instrumental for me as a non-musician. They have helped me learn about different instruments and their sounds. Similar to Colombian Jukebox, their intent is to share lesser known music with the world.
In 2017, in recognition of Hispanic Heritage Month, which is celebrated between September 15 to October 15 in the United States, NPR introduced ‘El Tiny’, a special series featuring Latinx artists. As quoted by Ana Maria Sayre, co-host of Alt. Latino “We want to represent both what is happening in Latin music at the moment, what is happening culturally for us at the moment, but we also want to bring artists who are kind of, like, projecting us forward a little bit”. The term “El Tiny” was an endearing term used by a member of Jorge Drexler’s band during a performance at the studios.
Here are 5 Colombian artists that have made the Tiny Desk.
1. Diamante Eléctrico – A Political Statement in Rock
In 2021, Colombian rock band Diamante Eléctrico delivered a powerful Tiny Desk (Home) Concert that was nothing short of electrifying. With a full 10-piece band, the performance transcended the typical Tiny Desk format which only allows for people that fit inside the desk area at their Washington, DC offices.
Juan Galeano led the charge with political anthems like “Amalia”, alongside his brother, Mario Galeano, founder of a Colombian subgenre known as tropicanibalismo. Part of the Tiny Desk Concert requirements is to feature a desk in their performance video. Diamante Eléctrico did an excellent job at incorporating this requirement. They used the desk as percussion instruments while holding pencils as drumsticks, an introduction that made the band’s raw energy and passion palpable.
2. Meridian Brothers – Psychedelic Cumbia Fusion
Blending cumbia, salsa, and psychedelic sounds, Meridian Brothers offered a unique auditory experience at their Tiny Desk concert. Led by Elbis Álvarez, the Meridian Brothers are an experimental latin fusion group from Bogotá. They began in extraterrestrial fashion with distorted vocals and with an array of effects, including the use of the vibraslap. Then, they transitioned over to ‘¿Dónde Estás María?,’ the tile of their 2017 album. They concluded with ‘Bomba Atómica’, a song that as mentioned by @bubblisimo in the comment section should have been the theme song for Christopher Nolan’s blockbuster movie, Oppenheimer.
3. Gregorio Uribe – The Accordion Maestro
If I were to be an instrument, I would definitely be the accordion. This European contribution to Colombian folklore makes my skin crawl (in a good way). Gregorio Uribe is a well-known and established accordionist, singer-songwriter, and now a published author. I have had the opportunity to see him on several occasions at Terraza 7 in New York and also share the stage with Carlos Vives at Madison Square Garden. His musical repertoire includes work with influential and important artists in Latin American music history, such as Ruben Blades. Gregorio’s sounds are so rhythmic, full of color and life that it’s easy to ignore the existential messages that come with his music.
Gregorio Uribe’s Tiny Desk concert was a spiritual journey filled with existential musings and heartfelt melodies. Always impeccably dressed, Uribe’s love for the accordion shone through. His introspective songs resonated deeply, offering a moment of reflection amidst the chaos of everyday life. He navigates through a spiritual search with ‘Damasco’, and explores the religious cultural shift central in Nietzche’s philosophy in “God is Dead” with his song ‘Atlas’.
4. Jessie Reyez – A Modern Rebel with a Cause.
Opening with a language warning, Canadian-Colombian singer-songwriter Jessie Reyez’s Tiny Desk Concert was a bold declaration of her modern rebellious feminine spirit. Incorporating elements of Colombian music, Reyez’s performance was both contemporary and rooted in tradition. From crafting a guacharaca using a used PBR beer can to incorporating the emblematic vallenato, ‘Los Caminos de La Vida’, her rebellious attitude made this set a memorable one.
I have seen several recent interviews where Jessie speaks about her social anxiety and her new path into sobriety. This contrasts sharply with her life during the NPR Tiny Desk Concert. It is definitely something I can relate to, and I am excited to see what is new with this new lifestyle.
5. Rio Mira – A fusion of Afro-Latin Rhythms.
In representation of the Pacific region of Latin America and formed by artists from Ecuador and Colombia, Rio Mira’s Tiny Desk concert in 2019 was a celebration of Andean Afro-Latin heritage. Rio Mira, named after a river separating Ecuador and Colombia, is directed by Esteban Copete. He plays the marimba de chonta, the instrument that dominates their sound. The group’s infectious rhythms and soulful melodies are a testament to the power of music to bridge the cultural divide.
Tiny Desk and Beyond
The NPR Tiny Desk concerts have become a stage where Colombian artists shine brightly, showcasing their unique sounds and stories. From the passionate energy of Diamante Eléctrico to the eclectic vibes of Meridian Brothers, these artists have beautifully represented the diversity and depth of Colombian music. As more talented artists from Colombia have made and continue to make their mark on the Tiny Desk stage, there will be more blog articles featuring these remarkable talents. In the meantime, enjoy these incredible performances that highlight the richness of Colombian musical heritage.
Colombian music is a collection of historical legacies and cultural influences that has made its way around the world with energizing rhythms. Yet, aside from the clichés and stereotypes that characterize its music, evident with a simple search engine query, lies a universe that holds stories of evolution and diversity waiting to be discovered. In this exploration of Colombian music, we will dive into five insider insights that have challenged my perceptions and have expanded my horizons on Colombian culture.
The Roots Run Deep: Exploring Colombia’s Musical Heritage
By acknowledging Colombia’s geographical influence and cultural diversity, we gain a deeper understanding of its rich history and evolution. Colombia’s unique geographic position, with access to both the Pacific Ocean and the Caribbean Sea, has played a significant role in shaping its musical landscape. The Caribbean Sea has served as an important connection between the continent’s two main rivers, North America’s Mississippi River and Colombia’s Magdalena River, which has facilitated cultural exchanges over the years.
The coral islands of San Andrés, Providencia, and Santa Catalina add another layer to the country’s rich diversity. Located in the Caribbean Sea, these islands boast a rich and vibrant Creole culture that is distinct from the mainland. The islands’ proximity to Jamaica and other Caribbean nations has led to the influence of reggae, calypso, and other Caribbean music styles into its local scene.
This intricate blend of cultural influences and geographic diversity set the stage for the many musical genres and styles that Colombia has to offer. Icons like Carlos Vives and Shakira have blended the diverse influences into their music, creating award winning sounds that are uniquely Colombian. Their ability to blend traditional Colombian rhythms with contemporary styles have allowed these sounds to travel all around the world, captivating audiences and earning international acclaim.
Beyond Clichés: Diving into the Diversity of Colombian Genres
In recent years, Colombian music has experienced an explosive growth in reggaeton and trap, thanks to artists like J Balvin, Maluma, and Karol G, further elevating Colombia’s popularity on the global stage. Contrary to popular belief, Colombian music is not confined to the catchy beats brought to us by these icons. While these artists have made significant contributions to Colombian music and have helped popularize Colombianness, there is a vast spectrum of sounds waiting to be explored.
While mainstream Colombian artists have garnered international attention, its the underground music scenes that have truly captured my heart. By weaving their stories into experimental sounds and through traditional folk music, I have learned there is something for everyone.
The dynamic evolution of Colombian music is a testament to its ability to adapt and innovate while honoring its traditions. This adaptability is evident in subgenres like salsa choke and break-salsa, as well as emerging musical styles like Ritmo Exótico.
Alexis Play and I at the 2023 Circulart Music Market in Medellín. Alexis Play, a musician, producer, and mentor from El Chocó, is renowned for blending urban sounds with traditional elements from his homeland, including Ritmo Exótico, a Pacific genre that merges contemporary styles like reggaeton, salsa and champeta.
In addition to these unique genres, artists interpreting hip hop, rock, and pop have added their own special Colombian characteristics, creating a fusion of sounds that resonates with both Colombian audiences and international listeners.
Unveiling Underground Scenes: The Thriving Indie Music Community
Looking beyond pop culture, the allure of Colombian music is impossible to ignore. The country’s tropical rhythms, especially those captured on vinyl between the 1950s and 1980s, have become coveted treasures by collectors worldwide.
International labels such as Munster Records Vampisoul have focused exclusively on reissuing and rereleasing vintage and lesser-known international artists. In their efforts to revive the retro global music scene, they have dedicated substantial attention to Colombian music, curating compilations and reissuing works of Colombian artists from labels such as Discos Fuentes, Codiscos, and Costeño. Their commitment to resurrecting tracks, albums, and artists that have yet to reach the masses has significantly contributed to the accessibility of Colombian music to new audiences and collectors worldwide.
Local independent record labels, such as Polen, Palenque, and In-Correcto, have played a pioneering role in the recollection of Colombian sounds. These labels have not only given birth to experimental music ensembles like Meridan Brothers, Frente Cumbiero, and Bomba Estéreo, who led the forefront in the early 2000s but also continue to carve out their own niche in the local market. They persistently push boundaries between experimental electronic and folk inspired indie rock, contributing to the diversity of Colombian music.
Colombian Record Labels
Live music performances and the experience of watching artists perform onstage are indispensable for the growth and evolution of music. Venues like La Pascasia in Medellín and Quiebracanto in Bogotá have played pivotal roles in the development of emerging artists, providing crucial platforms for them to showcase their talents, connect with audiences, and refine their craft.
La Pascasia is an emblematic music venue and cultural space in downtown Medellin where emerging artists take center stage.
The Power of Protest: Colombian Music as a Voice for Change
As someone with deep Colombian roots, living among the daily ups and downs of its culture has felt like second nature. However, starting Colombian Jukebox, has unearthed layers to understanding and truly appreciating what it means to be Colombian. I had just begun to feel comfortable calling Colombia home when the world plunged into a pandemic crisis, bringing in an era of strict curfews and a collective shift into digital space for communication and collection—a ripe time for introspection.
By May 2021, Colombia found itself in the throes of social unrest, a period that takes the cake as one of the most intense experiences I’ve had here. A proposed tax-reform by the then-president ignited nationwide dissent, parking street protests met with formidable resistance from the government and its anti-riot forces.
Yet, art has an uncanny ability to flourish amidst adversity. Colombia’s creative community—artists, singers, and songwriters—came together with an intense passion that resonated across the nation. Leading the charge was Alcolyrikoz, a rap group renowned for their poignant protest lyrics. Their collaboration with Junior Zamora on ‘La Caza de Nariño’ ingeniously transformed the presidential residence (La Casa de Nariño) into a hunting ground (La Caza de Nariño), a subtle linguistic shift that spoke volumes.
One verse, in particular, resonated deeply:
“Carlos Vive hablando de su tierra visita La Sierra Nevada, luego abraza al de la motosierra”
La Caza de nariño – alcolyricoz
The lyrics allude to a picture that the artist took with the controversial former President of Colombia, Álvaro Uribe Velez. As a huge fan of Carlos Vives, the lyric struck a chord with me, revealing the deep divisions within the country that I hadn’t fully recognized before.
Music has been my lens, my guide, revealing the complexities and beauty of Colombia in ways I never imagined. Through music, I’ve also gained valuable insights into the female experience in Colombia through lyrics from La Muchacha Isabel, and have been able to grapple with environmental and social issues through the stories sung by Edson Velandia and Masilva.
Evolution and Innovation: Colombian Music in the Digital Age
Discovering Colombian music has largely been a solo journey, however I’ve discovered several local projects dedicated to music that have been invaluable guides in uncovering what’s happening. Juan Antonio Carulla and his initiative, El Enemigo has been instrumental in amplifying what lies beyond the diversity found in Colombian music. His efforts have been indispensable in introducing a new musical horizon to many Colombians, despite his eyebrow raising candid commentary.
Juan Antonio Carulla, director of El Enemigo, an independent media channel focusing on the independent Colombian music scene. Picture taken from elenemigocolombia.medium.com
We have all witnessed and participated in the reshaping of the music industry in the digital age. While technology has created new business models that have democratized access, it has also introduced new gatekeepers, that keep aspects of the traditional music industry dominant. Today’s artists go through the ups and downs of algorithmic unpredictability and deal with challenges stemming from cultural and financial capital disparities.
Social media has been excellent for artists to cultivate closer relationships with fans and form their own niche market. On a personal note, I have been able to forge meaningful connections with artists, facilitating memorable experiences like spending time with Tres Coronas or receiving warm welcomes at events alongside artists like Juancho Valencia. These interactions have deepened my appreciation for the music and the stories behind it, highlighting the transformative power behind music and its capacity to build bridges and foster understanding.
Tres Coronas and I at Brooklyn Swag n Burgers in Medellín for the Guthie & Friends Podcast recording.
Juancho Valenica and I at the 2023 Circulart Music Market in Medellín
The Rise and Influence of Independent Colombian Music
In the era of digital transformation, the way we engage with art and music has evolved dramatically, reshaping the landscape for artists and audiences alike. While social media and streaming platforms play a pivotal role in an artist’s portfolio, the allure of live performances remains undeniable, serving as a cornerstone for artistic development.
Páramo Presenta has been a driving force in elevating Colombia’s live music scene, establishing itself as the country’s premier event promoter. With flagship festivals like Festival Estéreo Picnic, Cordillera Fest, and Baum, they’ve championed local talent, providing ample opportunities for emerging artists to shine on stage throughout the year.
The first three episodes of The Colombian Jukebox Podcast tells the story of the beginnings of Festival Estéreo Picnic and their national success.
While many Colombians artists have garnered international acclaim, achieving breakthroughs on global stages, there’s a growing recognition of the wealth of talent right at home. As someone with an outsider’s perspective with a deep appreciation for Colombian music, I’ve witnessed a burgeoning acknowledgement for local artists that have been both heartening and transformative.
Mexico, with its rich cultural heritage and proximity to the U.S., has become a nurturing environment for many Colombian artists seeking to make their mark. Icons like Juan Pablo Vega, Estemann, Monsieur Periné, and Elsa y Elmar have found receptive audiences in a country renowned for its cultural appreciation and seismic cultural shifts.
Juan Pablo Vega preforming at 3 Missions in Medellín
Yet, amidst these global influences and cross-border successes, there is an undeniable momentum building in Colombia. A renewed focus on homegrown talent is taking root, signaling a promising era where Colombian artists are not only recognized but celebrated on their own terms.
As we wrap up this deep dive into Colombian music, its abundantly clear that its beats and rhythms go far beyond catchy tunes—they’re a cultural symphony that speaks volumes. This isn’t just about music; its about a movement, a collective embrace of tradition and innovation that’s shaping the future of Colombian culture.
So, crank up the volume, hit play, and let Colombian music take you on a journey you won’t soon forget!
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