Ana Clara Ribeiro

1 week ago | popmatters.com | Ana Clara Ribeiro

By 2024, after more than two decades as a forró superstar, Xand Avião began to feel like he was losing his grip on the Brazilian public. What stung the most was the lack of enthusiasm from crowds in the Northeastern region, his homeland. It was a wake-up call. “It had been a while since I saw people really dancing forró in my concerts,” he confessed during a press conference ahead of Brazil’s São João (Saint John) season, the country’s massive Catholic festivity in June.

1 month ago | popmatters.com | Ana Clara Ribeiro

Despite the blistering heat on a Saturday night in December 2024, in the city of Belém, a buzzing crowd packed the grounds in front of the Güera Stage, one of the main attractions at Psica Festival — one of the most important music events in Brazil’s Amazonian region. Staff members warn fans to keep their distance from the barricades, as fireworks will be used during the show, further intensifying the sweltering atmosphere.

1 month ago | wipo.int | Ana Clara Ribeiro

K‑pop fans aren’t just consumers – they’re IP investigators who scan databases to determine their idols’ next moves. Meanwhile, the industry extends its IP strategy to capitalize on these super-engaged fandoms. In the music industry today, fandom is everything. “Superfan” is the latest buzzword, as artists and labels realize that loyal fans can be more valuable than hit songs. In the Republic of Korea, this is old news.

Feb 18, 2025 | remezcla.com | Ana Clara Ribeiro

“Everybody deserves love, even a pop star,” Liniker sings in “POPSTAR,” a track off her 2024 album CAJU (cashew). If the Brazilian artist’s new phase leaves any room for doubts that she’s indeed embodying the pop star persona, the lyric is explicit about it. Ten years after her debut in the music industry as the lead singer of the R&B band Liniker e os Caramelows, the singer, songwriter, actress, and producer is embracing all the creative liberties the label allows.

Feb 5, 2025 | popmatters.com | Ana Clara Ribeiro

History tends to repeat itself when it comes to music genres being disrupted by technology. Be it for the replacement of real musicians for machines or the simplification of the sound, the “electronic” version of music genres often faces resistance and prejudice. The narrative was no different with Brazil’s beloved forró, the genre born in the country’s Northeastern backlands whose instrumentals are marked by the combination of accordion, zabumba, and triangle.