Brasil Calling Vol. 24 Tunes Into A Wider Frequency

A new edition of Brasil Calling brings together 20 tracks that reflect the breadth of contemporary Brazilian music, where tradition meets experimentation and regional identity intersects with international dialogue.

Arthur Melo opens the set with “Turismo N.1,” a lo-fi, introspective piece affected by his relocation from Belo Horizonte to Lisbon.

In contrast, acclaimed percussionist Airto Moreira joins pianist Ricardo Bacelar on “Mestre Novo da Guiné,” a composition rooted in Afro-Brazilian spirituality.

Meanwhile, Johnny Crash reinterprets “Samba de Verão” through lap steel guitar, combining bossa-era sounds with Hawaiian and Western swing influences.

Orquestra Imperial revisits “Coqueiro Verde,” originally by Erasmo Carlos, transforming it into a modern gafieira song.

Veteran singer Marina Lima collaborates with Ana Frango Elétrico on “Um Dia na Vida.”

From São Paulo, Kaboom 23 presents “Cansei de ser Flor,” a mix of samba, hip hop, and MPB with conversational lyricism. Similarly, Bemti’s “Só Pra Ter Você,” features Fyfe Dangerfield and THU, amalgamates viola caipira with amapiano rhythms and Congado influences.

Elsewhere, “Versos Singelos” unites Roberto Menescal with younger artists Muca and Mirella Costa.

Pedro Volta follows with “Bom Partido,” a composition that revisits samba-canção traditions with notable maturity.

Political themes emerge in “Faixa de Gaza de Manguinhos,” where Jefferson Placido collaborates with Bia Ferreira and Padre Júlio Lancellotti. The track combines jazz and spoken word to address structural inequality.

At the same time, pedro lanches offers “vergonha,” a stripped-back, emotionally direct piece. Spok’s “Kaô,” features Lenine. It is rooted in Afro-Brazilian religious references.

ZéVitor and Siso continue the exploration of authorship and atmosphere, while Adriana Moreira’s “Roda do Mundo” focuses on circularity as both musical and cultural principle.

Regiane Cordeiro introduces reggae elements on “Raiz do Mundo.”

Malu Guedelha then shifts the tone with “Cada Um Com Seus Amores,” a minimal, voice-and-guitar composition. Tietê’s “Deixar o Medo,” includes Anelis Assumpção. They bring together reggae, art-rock, and improvisation with ease.

Finally, Maurício Tagliar and Mari Tavares revisit samba’s lyrical traditions on “Sem contratempo, não,” while instrumental group Hurtmold closes the compilation with “Maestro.”