Choro .
Choro (literally "cry" in Portuguese, but in context a more appropriate translation would be "lament"), traditionally called
chorinho ("little cry" or "little lament"). Instrumental, its origins are in 19th century Rio de Janeiro. Choro was the first Brazilian national musical style to develop in
Rio de Janeiro around 1870 and spread to the country with the invention of disco in 1888. Before choro, the most popular rhythms were
modinha and lundu, but modinha was a rhythm originally from
Portugal and lundu was a rhythm originating from
Angola. It emerged from the fusion of popular European dance music, such as polka, waltz, mazurka, xote and quadrilhas, with Afro-Brazilian music, for example, lundu. After the proclamation of the Republic of Brazil in 1889, military and metal bands included choros in their repertoire. It was played and danced mainly by the lower middle class. It had its peak between 1870 and 1920. Originally
choro was played by a trio of flute, guitar and cavaquinho (a small chordophone with four strings). The young pianist
Ernesto Nazareth published his first choro (
Não Caio Noutra) in 1878 at the age of 14. Nazareth's choros are often listed as
polkas; he also composed
waltzes,
schottisches,
milongas and
Brazilian Tangos. (He resisted the popular term
maxixe to represent Brazilian tango.)
Chiquinha Gonzaga was another important composer of choros and started shortly after Nazareth.
Chiquinha Gonzaga composed her first success, the polka-choro "Atraente", in 1877. In the beginning, the success of choro came from informal groups of friends which played in parties, pubs (
botecos), streets, home balls (forrobodós), and also the musical scores published by print houses. By the 1910s, much of the Brazilian first phonograph records are choros. The mainstream success of this style of music (By the 1930s) came from the early days of radio, when bands performed live on the air. By the 1950s and 1960s it was replaced by
samba and
Bossa Nova and other styles of Brazilian popular music, but was still alive in amateur circles called "rodas de choro" (informal choro gatherings in residences and
botecos). However, in the late 1970s there was a successful effort to revitalize the genre carried out by some famous artists:
Pixinguinha,
Waldir Azevedo and
Jacob do Bandolim.
Samba Samba as a musical genre emerged in the early 20th century in
Rio de Janeiro, although the term had already been used since at least 1830 to designate manifestations originating from batuque, such as the coco circle. It received influences from samba de roda, modinha, maxixe, and lundu. Batuque was a dance that developed from Afro-Brazilian predecessors such as jongo, semba de Angola, and lundu. These dances were accompanied by drums. The term samba probably dates back to semba (an Angolan musical rhythm). Initially, it was a type of music identified with people from the humblest strata and had its main center in the Rio de Janeiro neighborhood of Estácio de Sá, but it soon left the improvisational circles and joint creations of the Rio de Janeiro hills and was elevated to the status of a more "typically" Brazilian musical genre. Contributing to this was the first recording of a samba, "Pelo Telefone," released in 1917, which was a national success. . In 1929, prompted by the opening of the first radio station in Rio de Janeiro, the so-called
radio era began spreading songs – especially the novelty Samba in its current format – to larger masses. This period was dominated by few male interpreters – notably Almirante,
Braguinha,
Mário Reis,
Sílvio Caldas,
Francisco Alves and singer/composer
Noel Rosa and even fewer chanteuses such as
Aracy de Almeida and sisters
Aurora Miranda and
Carmen Miranda, who eventually came to Hollywood becoming a movie star. Samba reached middle-class circles. Samba-canção emphasized melody more, had a much slower tempo, and more refined lyrics. With the advent of radio, samba spread very quickly and became the musical pulse of the country in the 1930s. Popular music included instruments like
cuicas,
tambourines,
frying pans ('played' with a metal stick), flutes and guitars. Noteworthy Samba composers at this early stage included said
Noel Rosa plus
Lamartine Babo and, around
World War II time,
Ary Barroso. From World War II to the mid-1960s it was developed the
samba-canção subgenre, with male singers such as Orlando Silva,
Nelson Gonçalves,
Jamelão,
Ataulfo Alves,
Ismael Silva,
Miltinho and female singers started to mushroom:
Nora Ney,
Dolores Duran,
Ângela Maria,
Emilinha Borba, Marlene,
Dalva de Oliveira,
Maysa Matarazzo, sisters
Linda Batista and
Dircinha Batista, among others. In the late 1970s, the
pagode subgenre emerged, which is played in small groups.
MPB (Brazilian popular music) . Música Popular Brasileira, or MPB, is a musical genre that emerged in Brazil in the mid-1960s. MPB emerged from 1966 onwards in the city of Rio de Janeiro with the second generation of bossa nova, but with a strong influence from Brazilian folklore that had already been present since 1932. In practice, the acronym MPB (Brazilian Popular Music) announced a fusion of two musical movements that had previously diverged:
bossa nova and the folkloric engagement of the Popular Culture Centers of the
National Union of Students. The former advocated musical sophistication, while the latter championed fidelity to traditional Brazilian music. Their purposes merged, and with the
1964 Brazilian coup d'état, the two movements became a broad cultural front against the
military dictatorship, adopting the acronym MPB as their banner of struggle.
Jovem Guarda and
Tropicália are musical movements that are part of MPB (Brazilian Popular Music), but Tropicália identified more with MPB than Jovem Guarda due to its mixture of national and international rhythms. MPB began with a markedly nationalist profile, but it changed and incorporated elements from various origins, partly due to the musicians' lack of resistance to mixing musical genres. Since the term MPB emerged in the late 1960s, this style has incorporated not only the country's regional musical styles, but also North American, Caribbean and European influences, such as
blues,
jazz,
reggae,
rock and
pop. A characteristic of MPB is that regional styles develop in urban centers into a music of national character.
Rio de Janeiro and
São Paulo, in particular, assumed the role of catalysts since the 1960s and 1970s. However, with the increase in recording studios, record labels, radio and television stations since the 1980s, both cities lost influence.
Salvador, for example, produced a particularly large number of creative musicians. MPB is listened by people of all ages. This results in a greater historical awareness, and reinterpretations of old classics are common practices in MPB. Not only the performers, but also the composers and lyricists of the songs receive special appreciation. Singers like
Chico Buarque and
Caetano Veloso are also considered important poets in Brazil. The lyrics are not subordinate to the melodies, but rather superior to them. Well-known MPB artists include, among many others, singers such as
Gal Costa,
Nara Leão,
Zé Ramalho,
Marina Lima,
Simone,
Elis Regina,
Guilherme Arantes,
Roberto Carlos,
Jorge Ben Jor,
Milton Nascimento,
João Bosco,
Belchior,
Ivan Lins,
Djavan.
Bossa nova In the late 1950s, elements of bolero, foxtrot, and cha-cha-cha increasingly permeated samba, which gradually lost its typical characteristics during this period. This decline triggered a musical revolution: Bossa Nova. Unlike street samba, bossa nova emerged in the urban middle class, within the environment of bourgeois intellectuals. João Gilberto was particularly influential in shaping the style, both for his smooth singing and his guitar playing. His restrained singing reversed the bel canto style, the operetta style, that prevailed in samba in the 1950s. The first bossa nova records by
João Gilberto, in the last years of the 1950s, quickly became huge hits in Brazil.
Antonio Carlos Jobim and other composers helped further develop this smoother, often slower, samba beat, which developed at the beach neighborhoods of
Ipanema and, later, the
Copacabana nightclubs. Bossa nova was introduced to the rest of the world by American jazz musicians in the early 1960s, and the song "
The Girl from Ipanema" remains probably the best known Brazilian musical export, eventually becoming a jazz standard.
Brega music . Brega is widely used to refer to popular romantic music with dramatic exaggeration or ingenuity, usually dealing with topics such as declarations of love, infidelity and love delusions. Historically, the greatest singers of the genre are from northeastern and northern Brazil; three of its biggest icons historically were
Waldick Soriano,
Reginaldo Rossi and
Falcão, the latter following a part of a tradition of humorous brega.
Paulo Sérgio stood out for his dramatic and romantic music. some precursors of the style in singers of the 1940s and 1950s, who followed, through
bolero and
samba-canção, a more "romantic" theme. Among them
Orlando Dias, Carlos Alberto,
Alcides Gerardi and
Cauby Peixoto.
Technobrega Technobrega is a Brazilian music genre that emerged in the early 2000s in the northern state of Pará, particularly in the city of Belém. The term combines "techno," referencing
electronic music elements, and "brega", a Portuguese word often used to describe music considered kitschy or sentimental. Rooted in regional rhythms such as
brega,
forró, and
calypso, technobrega blends synthesizers, drum machines, and digital production with emotional lyrics and danceable beats. It gained popularity through informal distribution methods, including street vendors and large sound system parties known as aparelhagens. These events are crucial to the genre's culture, often involving light shows, live performances, and remix battles. Unlike mainstream music industries, technobrega artists frequently operate independently, producing and distributing their own music. This model has challenged traditional notions of copyright and music commercialization in Brazil, making the genre a case study in alternative music economies. Despite facing prejudice and being labeled as lowbrow, technobrega has become a powerful expression of regional identity and creativity, influencing other genres and reaching audiences beyond the Amazon region. Some of the most prominent names in the technobrega scene include:
Gaby Amarantos – Known as the “Beyoncé of Pará,” Gaby brought technobrega to national and international audiences with her fusion of brega, pop, and electronic styles.
Banda Uó – Though based in Goiás, this trio incorporated technobrega influences into their pop-electro sound and helped popularize the genre among younger audiences.
Pabllo Vittar – One of Brazil's most prominent LGBTQ+ pop artists, Pabllo Vittar has incorporated technobrega elements into several of his songs, blending regional rhythms with global pop and electronic music, helping introduce the genre to wider audiences.
Forró Forró is a popular music and dance genre from
Northeastern Brazil. The term refers to both the musical style and the social events where it is played, and it encompasses a variety of rhythmic forms that have evolved over time. With deep roots in rural traditions and everyday life, forró is an important symbol of Northeastern cultural identity. Forró originated in the early 20th century, particularly in the semi-arid region known as the
sertão. It is traditionally performed by a trio consisting of the
accordion (
sanfona), the
zabumba (a type of bass drum), and the
triângulo (triangle). The music typically features syncopated rhythms and lyrics that reflect themes of love, migration, hardship, and regional pride. Forró is a central element in regional celebrations such as the June Festivals. Beyond entertainment, it acts as a powerful form of cultural expression, transmitting local values and fostering community bonds. In 2021, forró was officially recognized as part of Brazil's
Intangible Cultural Heritage by the
Instituto do Patrimônio Histórico e Artístico Nacional (IPHAN). Among the most iconic names in the history of forró is
Luiz Gonzaga, who is widely regarded as the father of the genre and was instrumental in popularizing baião across Brazil. His influence shaped the sound of forró and brought the culture of the Northeast to national prominence. Another major figure is
Dominguinhos, a protégé of Gonzaga, known for blending traditional forró with elements of MPB (Música Popular Brasileira) and jazz.
Elba Ramalho gained fame for her energetic performances and for bringing forró to broader Brazilian pop audiences. Other influential artists include
Marinês, often called the "Queen of Forró";
Trio Nordestino, pioneers of the classic forró trio format;
Genival Lacerda, known for his humorous lyrics; and contemporary groups such as
Falamansa, who helped revitalize the genre in the 2000s through the “forró universitário” movement, and
Negâh Santos —Brazilian jazz percussionist with
The Late Show Band.
Axé Axé originated in
Salvador, Bahia in the 1980s, fusing different
Afro-Caribbean genres, such as marcha,
reggae, and
calypso. It also includes influences of Brazilian music such as
frevo,
forró and carixada. The word Axé comes from the
Yoruba term
àṣẹ, meaning "soul, light, spirit or good vibrations". Axé is also present in the
Candomblé religion, as "the imagined spiritual power and energy bestowed upon practitioners by the pantheon of orixás". It also has ties with the
Roman Catholic Church and the
Lenten season, which represents the roots of
Bahian Carnival. In Brazil, the term "contemporary Christian music" is erroneously considered synonymous with gospel music, produced by Protestant Christians. Other Christian religions, such as Catholicism, for example, commonly refrain from using this specific term for their productions, even though it is included within their scope, preferring only the term Christian Music, due to the appropriation by Protestants for the rebranding of Protestant gospel music. Protestant religions, which are gaining increasing influence, have a tense relationship with the music of Afro-Brazilian religions, while the Catholic Church is largely tolerant of it.
Brazilian rock . The musical style known in Brazil as "Brazilian
rock n' roll" dates back to Nora Ney's "Ronda Das Horas", a Portuguese version of "
Rock Around the Clock" in 1954. In the 1960s, young singers like
Roberto Carlos and the
Jovem Guarda movement were very popular. The 1960s also saw the rise of bands such as the "
tropicalistas"
Os Mutantes and the experimental (mixing
progressive rock,
jazz and
Música popular brasileira) Som Imaginário. The 1970s saw the emergence of many
progressive rock and/or
hard rock bands such as
O Terço,
A Bolha,
A Barca do Sol,
Som Nosso de Cada Dia,
Vímana and
Bacamarte, some of which attained some recognition internationally;
Rita Lee, in her solo career after
Os Mutantes, championed the glam-rock aesthetics in Brazil;
Casa das Máquinas and
Patrulha do Espaço were more bona-fide
hard rock bands, and the likes of (
Raul Seixas,
Secos e Molhados,
Novos Baianos and
A Cor do Som) mixed the genre with traditional Brazilian music. In the late 1970s, the Brazilian
punk rock scene kicked off mainly in São Paulo and in Brasília, booming in the 1980s, with
Inocentes,
Cólera,
Ratos de Porão,
Garotos Podres, etc. The real commercial boom of Brazilian rock was in the 1980s, with many bands and artists like
Blitz,
Camisa de Vênus,
Barão Vermelho,
Legião Urbana,
Lobão,
Engenheiros do Hawaii,
Titãs,
Kid Abelha,
Paralamas do Sucesso, and many others, and festivals like
Rock in Rio and
Hollywood Rock.. The late 1980s and early 1990s also witnessed the beginnings of an electronica-inspired scene, with a lot more limited commercial potential but achieving some critical acclaim:
Suba,
Loop B,
Harry, etc. . In the 1990s, the meteoric rise of
Mamonas Assassinas, which sold more than 3 million copies of its only CD (a record, by Brazilian standards) came to a tragic end when the band's plane crashed, killing all five members of the band, the pilot and the co-pilot. Other commercially successful bands included
Jota Quest,
Charlie Brown Jr.,
Raimundos and
Skank, while
Chico Science & Nação Zumbi and the whole
Mangue Bit movement received much critical attention and accolades, but very little commercial success – success that declined after the death of one of its founders,
Chico Science. It was also in the 1990s that the first seeds of what would grow into being the Brazilian indie scene were planted, with the creation of indie festivals such as
Abril Pro Rock and, later in the decade,
Porão do Rock. The band
Pato Fu was considered by
Time magazine one of the ten best bands in the world outside the United States. It is also known to re-record hits Brazilian and international versions of toy instruments. Female singer
Pitty is also very popular. The indie scene has been growing exponentially since the early 2000s, with more and more festivals taking place all around the country. However, due to several factors including but not limited to the worldwide collapse of the music industry, all the agitation in the indie scene has so far failed in translating into international success, but in Brazil they developed a real, substantial cultural movement. That scene is still much of a ghetto, with bands capturing the attention of international critics, but many playing again in Brazil when they become popular in the exterior, due to the lack of financial and material support which would allow for careers to be developed. One notable exception is
CSS, an alternative
electro rock outfit that has launched a successful international career, performing in festivals and venues in North America, Europe, Asia and Australia. Other unique example of success through independent music scene that made to the mainstream is the band
Móveis Coloniais de Acaju. The band has its own style, somewhere between rock and folk, and is recognized as the most important independent band in Brazil. The record company Trama tries to support some bands with structure and exposure, and can be credited with early support to
CSS and later to Móveis Coloniais de Acaju.
Brazilian alternative rock and indie rock Alternative rock in Brazil, including its subgenre
indie rock, represents a diverse and dynamic branch of Brazilian popular music that emerged prominently in the late 1980s and flourished during the 1990s and 2000s. Influenced by international acts like The Smiths, Radiohead, Nirvana, and Sonic Youth, as well as local post-punk and new wave pioneers, Brazilian alternative rock blends introspective lyrics, experimental sonorities, and regional identities with a do-it-yourself (DIY) ethos. In the 1990s, bands such as
Pato Fu (from Belo Horizonte),
Skank (initially blending rock and reggae), and
Los Hermanos (from Rio de Janeiro) helped redefine the sound of Brazilian rock. Their success paved the way for a new generation of bands exploring more poetic, ironic, and sometimes melancholic themes—often far from the traditional aesthetics of mainstream Brazilian rock. The 2000s and 2010s saw the rise of a robust independent music scene, often supported by digital distribution and small festivals across Brazil. Bands such as
Mombojó (Recife),
Superguidis (Porto Alegre),
Ludov (São Paulo), and
Cachorro Grande (Porto Alegre) stood out by blending indie rock with regional music influences, psychedelic elements, or a revival of garage and mod rock. More recently, bands like
O Terno,
Boogarins, and solo acts such as
Céu and
Tim Bernardes have received international attention while maintaining a strong presence in Brazil's alternative music circuits. Their sound often combines MPB (Música Popular Brasileira), Tropicália, and rock with experimental or lo-fi aesthetics, making Brazilian indie rock one of the most eclectic and innovative branches of contemporary Latin American music.
Brazilian heavy metal : Brazilian Heavy Metal Band] . Brazilian
metal originated in the mid-1980s with three prominent scenes: Belo Horizonte, São Paulo and Rio de Janeiro. The most famous Brazilian metal bands are
Sepultura,
Angra,
Krisiun and the singer
Andre Matos. Sepultura is considered an influential
thrash metal band, influencing the development of
death metal. Famous bands of the 1980s include
Korzus,
Sarcófago,
Overdose,
Dorsal Atlântica,
Viper,
MX,
PUS,
Mutilator,
Chakal,
Vulcano and
Attomica. There's also
Massacration, a Brazilian satirical heavy metal band, self-proclaimed the "greatest band in the world".
Brazilian black metal Brazilian black metal scene has developed a distinctive identity since its emergence in the late 1980s and early 1990s, marked by its raw production, intense atmosphere, and often controversial ideological themes. While influenced by the early Scandinavian wave of black metal, the Brazilian scene quickly evolved its own aesthetics and sonic aggression, shaped by local socio-political contexts and underground metal traditions. One of the earliest and most influential acts was
Sarcófago, a band that, although initially rooted in death and thrash metal, helped lay the groundwork for black metal in Brazil. Their 1987 album
I.N.R.I. is considered a seminal release in the global black metal canon, noted for its primitive sound, anti-Christian themes, and visual elements that predated much of the second wave of black metal in Europe. Although not always classified strictly as black metal by contemporary genre standards, several extreme metal bands from the 1980s laid important foundations for the development of the Brazilian black metal scene. Groups like
Vulcano,
Holocausto, and
Mutilator emerged with a raw, aggressive sound and anti-establishment themes that resonated with the aesthetic and ideology later embraced by black metal. Vulcano, formed in São Paulo in 1981, released Bloody Vengeance (1986), a record now recognized as a pioneering work in South American extreme metal.
Holocausto, part of the so-called "Belo Horizonte scene" alongside
Sarcófago and
Sepultura, shocked the underground with their 1987 debut Campo de Extermínio, an album noted for its chaotic sonic violence and war-themed imagery.
Mutilator, another key act from Belo Horizonte, also contributed to the early blackened death/thrash hybrid sound with Immortal Force (1987). These bands are now seen as proto-black metal influences that helped shape the Brazilian and global underground. Throughout the 1990s and 2000s, bands such as
Mystifier,
Impurity,
Murder Rape,
Unearthly,
Luxúria de Lilith,
Ocultan and
Miasthenia carried the torch, each contributing to the evolution of a uniquely Brazilian black metal style. These bands often blended traditional black metal with death metal elements, occult or theistic Satanism, and regional folklore, producing a sound that was both abrasive and culturally distinctive. The Brazilian black metal underground is also known for its commitment to DIY ethics, with a strong network of independent labels, zines, and cassette trading that supported the scene's growth. Despite limited mainstream exposure and occasional controversies related to ideological extremism, the community has remained active and fiercely independent. Modern Brazilian black metal continues to diversify, incorporating ambient, symphonic, and ritualistic elements while retaining the uncompromising spirit of its early pioneers. The scene remains vibrant, with both established and emerging bands receiving recognition in international black metal circles, solidifying Brazil's place in the global landscape of extreme music.
Brazilian death metal Brazilian death metal scene has been an influential and enduring component of the global extreme metal movement since the late 1980s. Emerging from a fertile underground metal culture, Brazilian death metal distinguished itself through its raw intensity, aggressive sound, and often politically charged or socially conscious lyrics. Rooted in the broader thrash and black metal explosion of the 1980s, bands like
Sepultura—while more thrash-oriented in their early days—helped pave the way for the heavier, darker death metal genre to flourish in Brazil. By the early 1990s, bands such as
Krisiun,
Torture Squad,
Claustrofobia,
Rebaelliun,
Obskure,
Mental Horror, and
NervoChaos began gaining recognition both nationally and internationally. Krisiun, in particular, became one of Brazil's most prominent death metal acts, known for their relentless speed, technical proficiency, and brutal sound. These bands often recorded under limited resources, but their commitment and intensity drew attention from major underground labels in Europe and North America. Brazilian death metal is characterized by fast, blast-beat-driven drumming, low-tuned guitars, guttural vocals, and lyrical themes that range from anti-religious critiques to reflections on war, death, and societal decay. Despite facing challenges such as limited infrastructure and support for extreme music, the scene has remained active and innovative. Independent festivals, zines, and small labels have played a crucial role in sustaining the community. Over the decades, the Brazilian death metal scene has continued to evolve, incorporating elements from other subgenres and embracing new technologies without losing its core identity. Today, it remains a respected and influential force within the global death metal community, with both veteran and emerging bands maintaining the country's legacy of sonic extremity. In recent years, there has been a noticeable increase in the number of Brazilian death metal bands with women in their lineups. Notable examples include
Nervosa, which gained significant recognition after their performance at
Rock in Rio in 2019, and
Crypta, a band formed by former members of
Nervosa that has also garnered international acclaim. Both bands have helped to expand the visibility of women in extreme metal.
Nervosa was invited to perform at the Wacken Open Air festival in 2020, but the event was cancelled due to the
COVID-19 pandemic. The Brazilian death metal scene is active across all regions of the country, with a particularly strong presence in the
Northeast. This region is home to notable bands such as
Headhunter D.C.,
Escarnium,
Decomposed God,
Infested Blood,
Torment the Skies,
Pandemmy,
Burning Torment,
Infectos and
Krenak. Among them,
Cangaço stands out for blending traditional death metal with elements of
Baião, a regional rhythm native to Northeast Brazil. In 2010,
Cangaço won the W.O.A. Metal Battle Brazil and represented the country in the international finals at the
Wacken Open Air festival.
Brazilian thrash metal Thrash metal scene in Brazil emerged in the early 1980s, influenced by the rise of the genre in the United States and Europe. Characterized by fast riffs, aggressive vocals, and social or political themes,
thrash metal found fertile ground in Brazil, particularly in urban centers such as São Paulo, Belo Horizonte, and Rio de Janeiro. One of the most influential and pioneering thrash metal bands in Brazil is
Sepultura, founded in 1984 in Belo Horizonte. Initially with a sound closer to death and black metal, the band quickly adopted thrash elements, becoming an international reference and paving the way for other Brazilian bands on the global stage. The album
Beneath the Remains (1989), released by Roadrunner Records, is considered a landmark of the genre. Other important bands in the scene include
Korzus,
Ratos de Porão (which blends
hardcore punk and
crossover thrash),
Dorsal Atlântica,
Mutilator,
Sarcófago (mostly associated with
black metal, but with strong
thrash influences in certain phases), and
Vulcano. Southeast region was the main epicenter of the movement, although bands from other regions also contributed to the diversity and richness of Brazilian thrash metal. During the 1990s, with the rise of
grunge and other alternative styles, the
thrash metal scene experienced a decline in visibility but maintained a loyal fan base. In the 21st century, there was a revival of interest in the genre, with the emergence of new bands, the strengthening of independent festivals, and the reissue of classic albums alongside anniversary tours by veteran acts. Notable newer bands include
Nervosa, an all-female thrash/death metal band from São Paulo formed in 2010, known for their socially conscious lyrics and international tours;
Black Pantera, a
crossover thrash trio from Uberaba formed in 2014, addressing themes of racism and social injustice;
Crypta, a death/thrash metal band formed in 2019 by former members of Nervosa, including bassist and vocalist Fernanda Lira and drummer Luana Dametto;
Eskröta, a São Paulo-based female trio founded in 2017 that mixes
thrash with
crust punk and
grindcore, often delivering humorous and politically charged lyrics; and
Surra, a band from Santos formed in 2012 that combines
hardcore punk and
thrash metal with sharp critiques of Brazilian politics and society.
Brazilian punk rock and hardcore punk Punk rock and
hardcore punk scene in Brazil began to take shape in the late 1970s and early 1980s, especially in major urban centers such as São Paulo, Brasília, Porto Alegre, and Curitiba. Influenced by the British and American punk movements, Brazilian punk quickly developed unique characteristics marked by political lyrics, social critique, anti-establishment attitudes, and a strong presence in the underground cultural sphere. In São Paulo, the neighborhood of Vila Carolina became one of the most prominent hubs for Brazilian punk, giving rise to pioneering bands such as
Garotos Podres,
Restos de Nada,
Cólera,
Inocentes and
Ratos de Porão. These groups were instrumental in shaping both the sonic aesthetics and the ideological stance of Brazilian punk. Despite the repression of Brazil's military dictatorship (1964–1985), the movement flourished through zines, independent record labels, anarchist collectives, and self-managed venues. During the 1980s, punk and hardcore expanded to other parts of the country. In the Federal District, the punk scene intersected with the post-punk movement, with bands like
Aborto Elétrico and later
Plebe Rude incorporating political themes and addressing urban alienation. In Porto Alegre, bands such as
Os Replicantes gained notoriety for blending punk attitude with humor and regional elements. The 1990s saw a resurgence and diversification of Brazilian hardcore, with the emergence of straight edge movements and a growing influence of metal, melodic hardcore, and skate punk. Bands such as
Dead Fish,
Garage Fuzz,
Noção de Nada, and
Point of No Return represented a more technically skilled and socially engaged generation, often addressing themes such as veganism, anti-capitalism, and environmentalism. Despite transformations in the music industry and the digitalization of cultural consumption, punk and hardcore remain active forces in Brazilian music. The scene is still characterized by its independence, DIY ethos, and its commitment to resisting social oppression. Festivals, cultural collectives, and new bands continue to emerge across the country, preserving the legacy of punk and hardcore as powerful forms of political, cultural, and artistic expression.
Brazilian emo, screamo and post-hardcore Emo, screamo and post-hardcore in Brazil refer to interconnected subgenres of rock music that became especially prominent in the 2000s, emerging from underground scenes and reaching significant commercial and cultural impact. Drawing influence from both the first and second waves of American emo (such as Sunny Day Real Estate, Thursday, and My Chemical Romance), Brazilian artists added local lyrical sensibilities, Portuguese-language expression, and themes of heartbreak, existential angst, and social identity. The term "emo" gained mainstream popularity in Brazil through bands like
Fresno,
NX Zero, and
Glória, which helped shape a nationally recognizable emo and post-hardcore aesthetic. These bands became known for their emotionally charged lyrics, dramatic melodies, and strong fanbases among teenagers, particularly in the 2000s. The mainstream rise of emo also intersected with fashion, internet culture, and youth identity formation. In the underground scene, bands like
Colligere (Curitiba),
Reffer (Recife),
Zander (Rio de Janeiro), and
Dead Fish (Vitória) played pivotal roles in shaping Brazilian post-hardcore and melodic hardcore. These bands were deeply connected with DIY ethics, independent labels like Läjä Records and Highlight Sounds, and often addressed social and political issues through aggressive yet emotional music. The Brazilian screamo scene also flourished in niche circuits, influenced by bands like Orchid and Saetia. Acts such as
Rhayra,
Aurora Rulez! and
Adorno explored cathartic vocals, chaotic structures, and poetic lyrics, often tied to anarchist or queer-feminist collectives.
Brazilian grindcore and crust punk Grindcore and
crust punk scenes in Brazil have played a significant role in the global development of extreme music. Emerging in the late 1980s and early 1990s, these genres found fertile ground in Brazil's underground music community, especially in the urban centers of São Paulo, Belo Horizonte, and Porto Alegre. Grindcore in Brazil is known for its raw intensity, politically charged lyrics, and fusion with death metal and hardcore punk. Early Brazilian grindcore acts such as
ROT and
Subcut rapidly gained recognition in international circuits for their aggressive sound and DIY ethos. Other foundational acts include
Lobotomia,
Hutt, and
I Shot Cyrus, which contributed significantly to the aggressive blend of hardcore, metal, and punk. In the 2000s and 2010s, bands such as
Desalmado,
Test,
Surra, and
Facada gained prominence by combining extreme sonic violence with political messages focused on social inequality, police brutality, and systemic oppression. Crust punk also found a dedicated following in Brazil, with bands like
Armagedom and
D.E.R. (Desastre em Rede) blending anarchist ideals with a heavy, metallic punk sound. Other notable acts include
Manger Cadavre?,
Subterror,
Nuclear Frost, and
Social Chaos, known for their fast tempos, d-beat rhythms, and harsh political critiques. Both grindcore and crust punk in Brazil are marked by their commitment to underground ethics, including independent production, community solidarity, and resistance to mainstream commercialization. Despite limited resources and media exposure, the scenes have maintained vibrant networks, often collaborating with international acts and participating in global punk festivals.
Brazilian rap rock Rap rock in Brazil, also known as '''rap'n'roll''', refers to a hybrid music genre that combines elements of hip hop and rock, and has had a notable presence in Brazilian popular music since the early 1990s. Influenced by American acts such as Rage Against the Machine, Beastie Boys, and Limp Bizkit, the Brazilian version of rap rock developed its own identity, often incorporating funk, reggae, samba, and socially conscious lyrics that reflect urban life, inequality, and resistance. One of the most prominent pioneers of the genre is
Planet Hemp, formed in 1993 in Rio de Janeiro. Their fusion of hip hop, hardcore punk, and marijuana advocacy created a countercultural movement that resonated strongly with urban youth. The band also launched the solo career of rapper
Marcelo D2, who continued blending samba with rap and rock influences.
O Rappa, another major band in the genre, blended rap vocals with dub, rock, and reggae, tackling themes of social injustice, poverty, and police violence in songs like "Pescador de Ilusões" and "Minha Alma (A Paz Que Eu Não Quero)". Their powerful lyrics and soundscapes earned them both critical and commercial success. In the early 2000s, bands such as
Charlie Brown Jr. and
Detonautas Roque Clube brought rap rock to mainstream Brazilian audiences. Charlie Brown Jr., from Santos (São Paulo), is particularly iconic for its fusion of skate punk, rap, reggae, and hardcore, as well as its reflections on youth, love, and rebellion.
Manguebeat Manguebeat (also spelled
mangue bit) is a Brazilian cultural and musical movement that originated in Recife, Pernambuco, in the early 1990s. It combines traditional regional rhythms such as maracatu, coco, and ciranda with elements of rock, punk, funk, hip hop, and electronic music. The movement was spearheaded by bands such as
Chico Science & Nação Zumbi and
Mundo Livre S/A, and quickly gained national and international recognition. Manguebeat arose as a reaction to the socio-economic stagnation and cultural isolation of Recife at the time. Its creators proposed a "mangue" (mangrove) metaphor, representing the rich and organic potential of local culture, connected via "antennas" to the global world. This vision was outlined in the 1992 manifesto
Caranguejos com Cérebro ("Crabs with Brains"), which called for cultural innovation rooted in local identity and open to global influences. The movement's sound was characterized by heavy percussion, Afro-Brazilian rhythms, electric guitars, and socially conscious lyrics addressing issues such as inequality, urban decay, and cultural resistance. Manguebeat played a crucial role in revitalizing Recife's music scene and brought renewed attention to Northeast Brazil as a hub of creativity and political expression in music. Although the sudden death of Chico Science in 1997 was a major blow to the movement, its legacy continues through bands like Nação Zumbi and a broad influence on contemporary Brazilian music. Manguebeat remains a symbol of cultural fusion, innovation, and resistance, and is considered one of the most important musical movements in Brazil since
Tropicália.
Samba rock Samba rock, also known as
sambalanço, is a Brazilian music genre and dance style that emerged in São Paulo during the 1960s. It is a fusion of samba, a traditional Afro-Brazilian rhythm, with elements of American rock and roll, soul, and funk. Characterized by its upbeat tempo and syncopated rhythms, samba rock reflects the cultural blending that occurred in Brazil's urban centers during the mid-20th century. As a dance, samba rock is typically performed in pairs and is known for its dynamic, improvisational style. It incorporates intricate footwork, spins, and fluid movements, drawing inspiration from both traditional samba partner dances and American swing dancing. The dance has remained popular in São Paulo's Black communities and continues to be celebrated in dance halls, festivals, and cultural gatherings. In recent decades, samba rock has experienced a resurgence, especially through dance competitions and social media platforms that highlight its heritage and contemporary appeal. It is considered a symbol of Afro-Brazilian identity and creativity, representing the spirit of cultural resistance and innovation.
Sertanejo . Música sertaneja or Sertanejo is a term for Brazilian
country music. It originally referred to music originating among
Sertão and musica
caipira. (Caipira music appeared in the state of
São Paulo, and some the regions of
Mato Grosso do Sul,
Goiás,
Minas Gerais,
Paraná and
Mato Grosso. Musical rhythm is very spread out in the Southeastern and southern regions of Brazil.) The genre is extremely famous in the country, having as some of its greatest exponents
Chitãozinho & Xororó,
Leandro e Leonardo,
Zeze Di Camargo e Luciano, , and
Sérgio Reis. Additionally, over the past few years, artists such as
Jorge & Mateus and
Marília Mendonça have been on the rise. A subgenre called "sertanejo universitário" (university sertanejo) developed from the mid-2000s, consisting of a more stripped-down and acoustic use of guitars, influenced by Western pop music. It became very popular among young Brazilians throughout the country and dominated the sertanejo scene in the 2010s. Sertanejo is usually divided into 5 phases: Música Caipira (Caipira music), Sertanejo Original (original sertanejo), Sertanejo Romântico (romance sertanejo), Sertanejo Universitário (university sertanejo), and the most recent, Agronejo. The latter emerged around 2020, rooted in the exaltation of the countryside, agriculture, and agribusiness, reflecting the experiences and values of agrarian communities experiencing economic and social growth.
Northeastern Music . Northeastern music is a generic term for any popular music from the large region of Northeastern Brazil, including both coastal and inland areas. Rhythms are slower and are derived from guitars instead of percussion instruments like in the rest of Brazil—in this region, African rhythms and Portuguese melodies combined to form
maracatu and
forró. Most influentially, the area around the states of
Pernambuco and its neighboring states.
Gaucho music (Southern music) . Southern music, or
Brazilian gaucho music () is a general term used for the music originally from the
Rio Grande do Sul state, in
Southern Brazil. Some of the most famous musicians of this genre are
Teixeirinha, ,
Renato Borghetti,
Yamandu Costa,
Jayme Caetano Braun and
Luiz Marenco, among others.
Music of Salvador: Late 60s to mid-70s In the latter part of the 1960s, a group of black Bahians began dressing as
Native Americans during the Salvadoran Carnaval, identifying with their shared struggles through history. These groups included
Comanches do Pelô and
Apaches de Tororó and were known for a forceful and powerful style of percussion, and frequent violent encounters with the police. Starting in 1974, a group of black Bahians called
Ilê Aiyê became prominent, identifying with the
Yoruba people of West Africa. Along with a policy of loosening restrictions by the Brazilian government, Ilê Aiyê's sound and message spread to groups like
Grupo Cultural do Olodum, who established community centers and other philanthropic efforts.
Frevo Frevo is a style of music from
Olinda and
Recife. Frevo bands always play during the Carnival.
Sambass Sambass is a fusion of samba and
Drum & Bass. The most famous sambass musicians are
DJ Marky and
DJ Patife whose hit
Sambassim might be the most known sambass track.
Funk carioca . Funk carioca is a type of dance music from Rio de Janeiro, derived from and was until the late 1990s, superficially similar to
Miami bass. In Rio it is most often simply known as funk, although it is very different musically from what
funk means in most other places and contexts. Like other types of hip-hop, funk carioca lifts heavily from samples such as international rips or from previous funk music. Many popular funk songs sampled music from the film
Rocky. Funk was popularized in Rio's favelas in the 1980s, with songs like
Feira de Acari by
Mc Batata, with
Furacão 2000,
Mc Marlboro and Brazilian versions of
freestyle songs by the singer
Latino, later turning more aggressive in the 1990s, with precarious lyrics and several MCs with direct links with drug trafficking. Subgenres derived from funk carioca include
funk melody,
funk ostentação,
proibidão, and
rasteirinha. , (
center) with singers
Caetano Veloso (
left) and
Gilberto Gil (
right) performing at the
2016 Summer Olympics opening ceremony Singers such as
Ludmilla and
Anitta mixed funk carioca with pop and
reggaeton, and their success propelled other funk carioca singers to adopt pop music in their repertoire. Thus a new generation of singers emerged, among them
Valesca Popozuda,
MC Biel and
Melody. The expansion of the genre in Brazil prompted singers of other styles to join the movement, such as
Luan Santana,
Banda Vingadora,
Pabllo Vittar, Jhama,
Gaby Amarantos, and
Tiago Iorc. In general, Rio de Janeiro funk receives criticism from sectors of society for its significantly more violent and sexist lyrics compared to North American gangsta rap, and/or for the explicit sexual appeal of some of its subgenres.
Funk automotivo Funk automativo is a subgenre of
Brazilian funk, mislabeled as "
Brazilian phonk" outside of Brazil. Phonk is often conflated with funk automotivo. The genre gained the nickname "Brazilian phonk" following its popularization and success on social media. Popular in Brazil, it combines phonk with local cultural elements.
Hip-hop music In
São Paulo and other places in the south of Brazil, in more urban areas,
hip-hop music is very popular. They dress similarly to American rappers.
Brazilian hip-hop is heavily associated with racial and economic issues in the country, where a lot of
Afro-Brazilians live in economically disadvantaged communities, known in Brazil as
favelas.
São Paulo is where hip-hop began in the country, but it soon spread all over Brazil, and today, almost every big Brazilian city, including
Rio de Janeiro,
Salvador,
Curitiba,
Porto Alegre,
Belo Horizonte,
Recife and
Brasília, has a hip hop scene. São Paulo has gained a strong, underground Brazilian rap scene since its emergence in the late 1980s with many independent labels forming for young rappers to establish themselves on.
Brazilian bass Brazilian bass is a subgenre of house that originated as a derivation of mainstream
deep house music of early 2010s, fused with
tech house elements and some minimalistic influences from
bass house. The tempo typically range from 120 to 125 bpm. The genre is characterized by distinguishable deep punchy basslines, often making use of low-pitched and filtering effects. The genre was created in Brasília around the mid-2010s, but its national and international repercussion only happened in 2016 with DJs
Alok, Bruno Martini and Sevenn.
Brazilian electronic music Electronic music in Brazil started in the 1980s, when the genre of music was getting popular in the world. The first event involving the genre of music in Brazil was in 1988 in
São Paulo, with
DJ Mau Mau. In the 1990s, the genre was getting bigger in Brazil and world, some of the most famous
disk jockeys were
DJ Marky and
DJ Patife. In the 2000s,
dubstep started getting famous in Brazil. Brazil has a lot of famous electronic music musicians, like
Alok,
Kasino, and
Vintage Culture.
B-Pop , after her successful stint in rock in the 70s, became the first
pop superstar in Brazil.
B-pop (short for the English
Brazilian pop) or
Brazilian pop music is a
musical genre originating in
Brazil, sung in
Portuguese and sometimes
English. The term B-pop first appeared in the Brazilian press to refer to groups such as
Champs, one of the B-pop groups that was inspired by
K-pop (Korean pop music). However, the existence of Brazilian pop music predates the existence of K-pop-inspired groups, as there have already been artists and groups (including boy bands and girl groups) in the country who defined their music genre as pop (in this case, more inspired by North American pop), such as
As Frenéticas and
Rita Lee in the late 1970s,
Dominó and
Polegar in the 1980s,
Lulu Santos also from the 1980s onwards,
Fernanda Abreu and
Latino in the 1990s,
Kelly Key,
Wanessa Camargo,
KLB,
Rouge,
Br'oZ,
Sandy & Junior in the 2000s. Some more recent artists such as
Luísa Sonza,
Jão,
Vitor Kley and
Marina Sena are representatives of pop in Brazil. The television presenter, actress, and singer
Xuxa, who also sings in Spanish and English and achieved international success in the 1980s, is considered a Brazilian icon. In total, she sold over 33 million albums, with her most famous hit being "Ilariê," which reached number one on the charts in almost every country in Latin America. == Notable record labels ==