Artist Spotlights: Indie Women Artists to Support for Hispanic Heritage Month
In honor of Hispanic Heritage Month, we compiled a list of Latina and Spanish artists to stream, this month and always.
Written by C.S. Harper
Illustrated by Micaela Galvez
Although Hispanic Heritage Month is a period meant to commemorate the accomplishments of Hispanic icons, people often reserve this month to celebrate only the famous and legendary, especially when it comes to music. Consequently, the general public often dismisses lesser-known musicians who are preserving and expanding Hispanic art for modern audiences in favor of bigger names with larger legacies. As Hispanic Heritage Month comes to an end, we encourage you to support up-and-coming indie Latina and Española artists who are changing the musical landscape with uncompromising Hispanic pride.
La Dame Blanche
Photo courtesy of Klebinger Fotografie
Recommended If You Like: Greentea Peng, Celia Cruz, Lizzo
La Dame Blanche is a proud Cubana, and she’s here to make everyone know it. From her aesthetic — you can typically find her sporting a traditional headscarf while enjoying a Cuban cigar — to her multicultural sound, she incorporates her roots in every aspect of her music. Inspired by her heritage, the singer-flautist (born Yaite Ramos Rodriguez) fuses dancehall, reggae, hip-hop, and cumbia, which originated in the Caribbean coast of Colombia. In the fiery “Veneno [Poison],” Rodriguez flexes her musical skills with a catchy flute riff and verses that shift between rapid-fire rapping and honey-sweet singing. She juxtaposes her flow and a gritty hip-hop bass with more traditional Cuban sounds, like bata drums and a backing choir reminiscent of Celia Cruz’s guaracha sound. But her music isn’t just fun — Rodriguez seeks to educate as much as entertain. Using historically male-dominated genres, she creates a feminist manifesto with her latest album, 2020’s Ella. With the Spanish word for “she” and a uterus surrounded by flowers for its album art, the record is a concept album about womanhood. Each cut from the tracklist represents a different type of female character, including those that have been historically looked down upon, such as “La M-lata [The Multiracial Woman].” According to the North American Congress on Latin America, Latinxs in post-colonial Latin America have perceived mixed racial heritage as “the impure consequence of rape or female sexual deviance. It had resulted in mestizos [mixed race people]: sexually irrepressible, culturally chaotic, and therefore immoral social beings.” Over a catchy reggaeton beat, Rodriguez challenges stereotypes about multiracial women before singing the empowering chorus, “No te pares [Don’t stop yourself].” And that’s just what makes La Dame Blanche an artist to watch: Her music is fierce, feminist, and unapologetically Cuban.
María José Llergo
Photo courtesy of Paloma Wool
Recommended If You Like: ROSALÍA, The Marías, YEИDRY
With angelic, vibrato-heavy vocals, rising artist María José Llergo is set to become Spain’s next flamenco star. Like her famous contemporary ROSALÍA, Llergo is part of the nuevo flamenco movement, a fusion style of the genre that was pioneered in the 1980s and mixes influences from pop and rock to experimental music. But unlike many modern artists from the movement, Llergo represents both the past and future of flamenco. As a native of Pozoblanco in the autonomous community of Andalusia, the birthplace of the genre, the cantaora stays true to her heritage. From recording her 2020 album Sanación in the Adalusian capital of Seville to refusing to disguise her regional accent, Llergo has been adamant about “demanding dignity for the Andalusian people,” who are often ridiculed in the media for their culture and for speaking supposedly “bad Spanish.” But the singer doesn’t merely seek to preserve flamenco’s roots: she seeks to expand its musical boundaries. Although earlier songs like her 2018 single “Niña de las Dunas [Girl of the Dunes]” have more traditional qualities like enchanting folk lyrics and a flamenco guitar, Llergo takes bold and innovative risks in Sanación. For instance, “Soy Como El Oro [I Am As I Were Made of Gold] forgoes featuring flamenco instruments almost entirely, instead solely using synths for most of its runtime to accompany Llergo’s triumphant vocal runs. Another standout, “La Luz [The Light],” which the singer performed for the COLORS Show, marries the traditional and modern by using airy electronics and minimalistic digital beats to accompany Llergo’s soprano vocals and palmas, a rhythmic hand-clapping style that characterizes flamenco music. All in all, María José Llergo is a force to be reckoned with: a beautiful reminder of Andalusia’s past, and a vision of its future.
Listen to María José Llergo on Spotify. You can find her on Instagram @mjllergo.
OKAN
Photo courtesy of Ksenija Hotic
Recommended If You Like: Ibeyi, Jane Bunnett, Daymé Arocena
OKAN is the brainchild of Cuban musicians Elizabeth Rodriguez and Magdelys Savigne, who have garnered buzz as Grammy nominees for their collaborations with famed Canadian jazz artist Jane Bunnett. But the duo demonstrates talent in its own right with OKAN, a word that means “heart” in Lucumí, the liturgical language of the Afro-Cuban Santería religion. Beyond their name, the artists’ work is intimately tied to their heritage. Throughout their discography, the musicians have developed a forward-thinking blend of Cuban folk and jazz. This vision is at its most realized in sophomore album Espiral, which fuses the two genres seamlessly. In the title track, the duo performs an Afro-Cuban chant before a violin-led folk instrumental with Cuban guajira rhythms kicks in. Halfway through the track’s runtime, the production transitions into an energetic jazz piano solo before the singers resume their chants. “Espiral [Spiral]” opens a doorway for listeners to explore the underappreciated traditions of Santería and jazz, which Rodriguez and Savigne continue putting a fresh spin on in the following tracks. The aptly titled “Aguila [Eagle]” carries the majestic air of the eponymous bird in its opening production, with a mellifluous violin and soaring piano arpeggios. The instrumental transforms into a blend of Latin jazz and the slow-tempo ballroom genre bolero, as the duo sings what initially seems to be a love song: “Yo no encuentro / Las palabras para describir / Lo que siento en mi alma / Cuando pienso en ti [I can’t find / The words to describe / What I feel in my soul / When I think of you].” However, as the song progresses, the duo reveals that the subject isn’t a love interest, but a loved one. Written in honor of Rodriguez’s aunt, who emigrated from Cuba to the United States, the song is “dedicated to immigrant women” and portrays them as eagles flying high in the sky. Although the song begins with a mournful tone, it turns into a lively Cuban son that celebrates the triumphs of immigrant women. By exploring different dimensions of Cuban music, OKAN crafts beautifully intricate songs that celebrate and advocate for its native country.
Isabella Lovestory
Photo courtesy of Yan Bleney
Recommended If You Like: Bad Bunny, Charli XCX, Arca
Honduran club kid Isabella Lovestory is bringing much-needed female representation to reggaeton, all the while giving it a hyperpop twist. “Tranqui, con un shot de tequila / Bailando mientras tu novio me mira [Calmly, with a shot of tequila / Dancing while your boyfriend watches me]” she sings with a deadpan flow over the hard-hitting beat of her latest single, “Tranki [Calmly].” Much of her music revels in this casually sensual energy, creating the perfect bangers for a night at the club. Although the singer has yet to release a full-length studio album, her polished arsenal of singles solidly establish her as an artist. Even her debut single, “Humo [Smoke],” showcases her innovative genre-bending vision, complementing the reggaeton beat with dystopian, laserlike synths. The juxtaposition of the “I couldn’t care less” tone of her voice with the badass lyrics keep the song interesting, opening the track with the demand, “Deja de fumar que el humo me molesta [Stop smoking, the smoke bothers me].” Since her first song, Lovestory’s work has always existed in the realm of nightclub life. From feeling herself with her fashion choices in the quirky “Kitten Heel” to reminiscing about a steamy encounter at the club in “Whiskey & Coca Cola,” she constructs the perfect dance track for any mood. However, the singer isn’t afraid to step out of her comfort zone: In the cheeky “Alo,” for instance, she sings about calling a sexy stranger on the phone. In the Spanglish “Vuelta [Turn],” she conquers new linguistic and sonic horizons with English verses and a futuristic pop sound reminiscent of Charli XCX’s Pop 2 era. Although Isabella Lovestory’s club formula may seem vapid to some, its simplicity allows for beats that are innovative, creative, and just plain fun.
Queralt Lahoz
Photo courtesy of Son Estrella Galicia
Recommended If You Like: Amy Winehouse, Nathy Peluso, Kali Uchis
Queralt Lahoz is adding much-needed Spanish flair to soul music. The Granada native’s vocal timbre ranges from the husky swagger of R&B greats like Amy Winehouse to the delicate vibrato of flamenco artists like ROSALÍA. In her 2021 debut album, Pureza, Lahoz fuses jazz, flamenco, soul, and hip-hop to create a one-of-a-kind blend of Latin sounds. For instance, “De la Cueva a los Olivos [From the Cave to the Olive Trees]” begins as a flamenco guitar-led ballad before drums and trumpets kick in as Lahoz sings the hook: “De la cueva a lo olivos / A donde vayas yo te sigo [From the cave to the olive trees / Where you go I’ll follow].” Halfway through the song, the instrumental adopts a jazzier tone during a piano-led intermission before the singer breaks into a fiery rap in the bridge. The following track, “Con Poco,” continues this seamless genre-bending. It begins with a Latin trumpet line as Lahoz flaunts her singing prowess with intricate vocal runs, before a hip-hop beat kicks in and the songstress delivers catchy bars like “Con poco, te rompo el coco con poco [With little, I’ll blow your mind with little]” The singer weaves her cultural influences throughout, incorporating flamenco clapping and vocalizations in the bridge. Despite her braggadocious energy throughout the album, Lahoz also showcases more vulnerability in “Si la Luna Quiere [If the Moon Wants].” Over a muted indie rock instrumental and guitar arpeggios, the songstress interpolates a lyric from El Barrio’s “Agua Fresca.” “Si quieres agua fresca, niña / Ven a mi pozo [If you want fresh water, girl / Come to my water well]” she sings softly. Her voice soars into a powerful flamenco vibrato as the spacey percussion fades out in the flamenco guitar-dominated outro. By fusing the sounds of her heritage with R&B and soul, Lahoz expands these genres’ horizons and helps both preserve and transform the flamenco tradition.
Listen to Queralt Lahoz on Spotify. You can find her on Instagram @queralt_lahoz.
Although this list is far from comprehensive, we hope to give you a glimpse into the diversity of Hispanic women artists. Be sure to check out the playlist below and support these artists and others beyond Hispanic Heritage Month.