Flavia Coelho has laid all the cards on the table. Naming her album debut “Bossa Muffin” is not only a way of stating thing as they are – that both Brazilian bossa nova and Jamaican raggamuffin are significant sources of inspiration – it also reveals an aesthetical vision behind it all: to twist two different musical landscapes into higher territory.
Raggamuffin (better known as dancehall) and bossa nova originate from respectively reggae and samba; both highly rhythmical expressions rooted in the homelands of the displaced, African slaves. The music’s historical roots make their futuristic union a solid merge, filled with promise and possibility. It’s way harder to steer clear of a hybrid that’s not banal in its fusion of raunchy Caribbean club music and capricious Brazilian jazz tones. Flavia Coelho’s bossa muffin, however, is in fact equal parts amazingly daring and pleasantly chill.
But one probably becomes an effortless genre juggler with a ”different” childhood. One thing is being the daughter of a hairdresser for drag queens, another is having a burlesque troupe pull you up on stage at age fourteen, only to then being snatched away for a carnivalistic European tour, until finally settling in the hometown of the avant-gardists; Paris. Not that Flavia Coelho is attempting to be a weirdo. On the contrary: there are hardly few things more inclusive than trying to break down borders!
Coelho is a firework show of an artist; she is loved for her electric stage show and her sexy, voodoo magic voice. But perhaps, the thing that makes Flavia Cohelo an artist to be reckoned with, is her boundary-breaking mission that infuses all aspects of her artistry, making her the courageous and generous multi artist she is. We look forward to presenting her in Oslo.
Text: Kim Klev