In Latin America, music not only speaks of the party, but also of the “reality of the streets”, explains Brazilian artist Pedro Sampaio, known for his interpretation of the Carioca funk genre, a type of composition that, together with other styles from the continent such as corridos tumbados, reflects the inequality and delinquency of the streets of cities such as Rio de Janeiro or Mexico City.
Explaining what is “lived day by day” in the streets of Rocinha, the largest favela in Brazil, or in neighborhoods like Tepito, in the Mexican capital, is what Latin audiences seek to hear, “trying to identify with these stories and feel that what they hear represents their reality,” he developed in an interview with EFE, for his upcoming concert at the ‘Tecate Emblema’ on May 17.
However, these genres are increasingly criticized by governments such as Mexico’s for sometimes glorifying violence or criminal figures such as drug traffickers, a situation that, according to Sampaio, also reflects what is happening in his native Brazil.
“Freedom of expression exists,” defends Sampaio and acknowledges that funk often talks about drug trafficking, but also about regional dances, the relationship between men and women or local traditions.
Brazilian funk or carioca is an urban style that was born in the outskirts of Rio de Janeiro, specifically in the favelas marginalized from the rest of the city, as an expression of Afro-Brazilian popular culture of resistance to inequality or the few free public spaces to celebrate festivities.
Pedro Sampaio and hisrelationship with México
In 2025, Sampaio was backstage at the ‘Cola Flow Fest’ with Colombian reggaeton artist J Balvin when he met Bogueto, Mexico’s leading exponent of the genre and from that day on a “brother” of the Brazilian, not only because of their musical connection, but also because of their shared effort to internationalize their genres.
“I think both Bogueto and I represent that new generation that comes to break barriers and show that these genres can also be global,” he notes.
That is why they decided to make the song ‘G-Latina’ together, a song that would have its lyrics in Spanish, but would be recorded in the streets of Brazil, a bet that already reaches millions of listens on platforms less than a month after its release.
“It’s a very honest mix between Brazilian funk and Mexican reggaeton, and it perfectly represents that cultural bridge we are building, despite our different languages,” he says.
Currently, Brazilian funk is the most listened to genre in Brazil, although historically sertanejo – which Sampaio compares to corridos – was dominant in the South American country’s regional music and, as in Mexico, genres such as reguetón and other urban styles have also been “discriminated against” for years.
Brazil: more than party and music
For years, Brazil was culturally pigeonholed in festivities such as carnivals or musically in genres such as Bossa Nova in the 1960s due to its strong cultural union with American jazz.
However, Sampaio is not at odds with this, but rather embraces the fact that his country can now export more than these cultural expressions.
“I love it when Brazilian culture reforms and is exalted and bold, I don’t want that to change, regardless of whether it’s just samba or carnival. But the new generations are bringing in fresher elements and that’s great,” he says excitedly.
Sampaio hopes that this “good moment” for the export of Brazilian culture will serve to demonstrate that music “is not just dance, but also has to tell stories” and show aspects that are often stereotyped by tourists, such as its favelas, reported Agencia EFE.
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