For foreign fans of Brazilian music, it may come as a surprise that

bossa nova is not such a popular genre in the country. After gaining
international prominence in the 1960s, bossa nova and samba have
preserved their status as a “postcard of Brazilian music”. But these
days, bossa nova’s status is challenged by the genre’s disconnection
with newer generations and the many facets of Brazil beyond the elite
of Rio de Janeiro. Thus, it’s a big surprise for hip Brazilians that one of
the hits of 2023 is a bossa nova song – sung by a young artist best
known for her danceable pop hits.
Luísa Sonza has made a name for herself by releasing bold songs
influenced by funk, hip-hop, and some romantic pop ballads.
Therefore, a song like “Chico” is more than just a way to show a new
side of her possibilities as a singer and songwriter. “It’s also about
bringing the new generation closer to huge influences in the history of
Brazilian music,” Sonza tells PopMatters.
“Chico” raised debates about whether or not it was “real bossa nova”.
Its lyrics allude to “Folhetim”, by Chico Buarque. Its melody has
moments that verge on sertanejo (a music genre from Brazil’s
countryside).

The initial resistance to “Chico” seemed to be linked less to the

message than to the messenger. Would Sonza be unworthy, or
perhaps incapable, of doing bossa nova? Even singer Caetano
Veloso was urged to speak out on what the genre means nowadays.
“The guitar [in “Chico”] is playing bossa nova,” Veloso confirmed in a
now-viral video. “Chico” reached #1 on Spotify Brazil and entered the
Top 30 on Spotify globally.
Bossa nova is just one of several influences on Escândalo
Íntimo (2023), Sonza’s third studio album. Sonza did not need the
validation of Veloso or anyone else to choose the sonic direction that
this album would follow. However, putting out such a project involved
asking permission to directly evoke several Brazilian music titans –
such as Rita Lee, a Brazilian rock icon who passed away in May 2023.
In “Lança Menina”, Sonza not only interpolates Lee’s “Lança perfume”
but also makes use of a recording of the singer’s voice. In more ways
than one, Lee’s presence confirms the intention behind Sonza’s work.
She believes Lee is “extremely important to celebrate our culture, our
artists, our roots, and share them with the world.”
In “Luísa Manequim”, Sonza reproduces the title and recording
of Abílio Manoel‘s song. She does that to rethink her identity as the
“muse” described in the original lyrics. Sonza accepts and, at the
same time, rejects this label when she sings, “I’m beautiful even when
I’m ugly” and “I’m half a muse”. She also references Cazuza’s “Todo
amor que houver nessa vida” when describing herself as having “the
taste of bitten fruit”. This description is consistent with Sonza’s
comfortable position about her acknowledged sex appeal. However,
including a reference to the Brazilian rock icon of the 1980s confirms
that Luísa is much more than a sex symbol. The resources and
references used for Escândalo Íntimo may be clichés, but they
challenge the public’s perception of Sonza’s artistic depth.
Indeed, samples, interpolations, and references are the
instrumentalization tools for Sonza’s journey through the Brazilian
songbook. Alcione, Vanessa Rangel, Hareton Salvanini, and Vanessa
da Mata are also among the explicit influences of Escândalo Íntimo. “I
have immense admiration for Brazilian music, and it was intentional
to incorporate these references,” says Sonza.
These combinations and inspirations may seem random,
but Escândalo Íntimo seeks to be a journey into Sonza’s psyche.
Pantomnesia is a driving force for many composers. Sonza draws from
the universal artistic repertoire that precedes her and is contemporary
to her in sometimes more or less conscious ways, generating a
musical spectrum that is not always cohesive. But for Sonza, showing
these dark sides of her experience that appear to not be in harmony
with her ability as a composer was a choice. Sonza’s creative process
is greatly influenced by her experiences, including personal traumas.
“Escândalo Íntimo is a film, a visual album, that narrates the story of
love intertwined with my personal journey,” says Sonza. “The tracks
are soundtracks to the movies in my mind. The references are indeed
strategic, aiming to delve into the most vulnerable and darkest places
I could explore, which is my subconscious.”
Indeed, Escândalo Íntimo is a deeply personal album; as Sonza notes,
“With the guidance of visual artist and psychoanalyst Nathalie Nery, I
began a process of psychoanalysis and dream interpretation. I
concluded that the lyrics I was writing were not about other people
but about myself, as happens in the realm of dreams. From then on,
we started looking for references linked to this surrealist journey”.
In her album-inspiring dreams, Sonza is not only faced with memories
marked by Brazilian music. Escândalo Íntimo also dialogues with art
made beyond Brazil’s border. For example, the Beatles’ psychedelic
phase influenced “Principalmente me Sinto Arrasada” and the title
and music video for “Campo de Morango”.

In “Penhasco2”, Demi Lovato, singing in Portuguese, takes on the role

of a partner. “‘Penhasco’ [released by Sonza in 2021] is a powerful
song in my work,” Says Sonza. “Introducing part 2 generated
anticipation, and collaborating with such a huge international singer
like Demi was the highlight,” she says. “I think having non-Brazilian
artists singing in Portuguese is a form of recognition of the strength of
Brazilian music and artists. Without a doubt, she not only accepted
the challenge of singing in Portuguese, but her genuine dedication
made everything even more special”.
Escândalo Íntimo is an unusual musical mosaic in which stylistic
boundaries dissipate. For many fans, it is Sonza’s boldest and well-
coordinated artistic bet. But some are still not convinced that she is as
competent as an artist as she is at achieving sales, streams, digital
downloads, etc. (as she sings about in “Carnificina”). The album’s
mixed reception doesn’t bother Sonza. “We will always have to deal
with people who don’t like our work; it’s impossible to please
everyone. But I’m immensely happy with the album’s reception,” she
says. “Seeing the audience respond to Escândalo Íntimo‘s themes is an
enriching experience.”