Louder: Can One of Brazil’s Biggest Stars Crack the U.S.?

Plus: Olivia Rodrigo, Fivio Foreign, Afrofuturism and More
Author Headshot

By Caryn Ganz

Pop Music Editor

We’ve talked about the Grammys a lot … and we will do it briefly one last time, because the Popcast featuring Jon Caramanica, Jon Pareles, Wesley Morris and Lindsay Zoladz was still being edited by our intrepid producer Pedro Rosado when I sent the last Louder. (If people are still talking about the Oscars, I say this is fair game.)

Two nights after she won three Grammys (including best new artist), Olivia Rodrigo opened her Sour Tour in Portland, Ore. It was her first opportunity to make a full live presentation to her fans (since her pop career took off during the pandemic), and Jon Caramanica named it a Critic’s Pick, which may only introduce more pain for parents trying to secure tickets on the secondary market. [Insert “Brutal” gif here.]

Speaking of major live moments: Anitta, the Brazilian pop star who has spent the past decade building her career in South America, arrives on the Coachella stage next weekend, days after releasing her new trilingual album “Versions of Me.” She’s the rare artist who has roots in baile funk, the respect of Caetano Veloso, a history of butting heads with Brazil’s far-right president and become open about discussing her bisexuality. This album will be an attempt to break into the U.S. market, and many will be watching to see what happens next.

Fivio Foreign, who has become a go-to spokesman for drill, “hip-hop’s current problem child and creative engine,” as Joe Coscarelli writes, released his debut album this week. Joe’s story is a great primer on drill’s aesthetics, narratives and relationship to law enforcement, and a fascinating profile of a rapper trying to pick up Pop Smoke’s mission and bring it the mainstream: “The content don’t make drill,” Fivio said. “Drill is a beat. Drill is a sound, just like pop is a sound. What’s a reggae song about? It’s about what you make it.”

Also: Do not miss Giovanni Russonello’s two-months-in-the-making notebook about Carnegie Hall’s Afrofuturism festival and Jon Pareles’s obituary for Mira Calix.

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