The empowered vulnerability of the almost Brazilian Lianne La Havas [ENTREVISTA]

With a sweet manner and a hint of shyness, Lianne La Havas He says, with all the modesty in the world, that he is “learning” (not “learning”, “learning”) to speak Portuguese. It’s her response to a joke: it was proposed that her intimacy with the language be tested throughout the interview for the Rolling Stone Brazil. Nothing serious, because it’s not necessary. We are talking about an artist who not only knows Brazilian music very well but also sang, in our language, more than once, together with none other than Milton Nascimento.

It’s the type of situation that perhaps helps explain why Brazil has so embraced the singer and songwriter, one of the most acclaimed to emerge from England in the last 15 years. Just like the work of some of the greatest national musicians, the work of Lianne It’s hard to label, but easy to appreciate. There’s soul (neo-soul?), R&B, jazz, folk and, of course, a Brazilian flavor that comes from his way of playing acoustic guitar, clearly inspired by national jazz, MPB and, indirectly, bossa nova.

This connection translates into another visit to the country for shows, the third of his career. Here, the Englishwoman, daughter of a Greek father and a Jamaican mother, has a schedule of four performances, the first of which has already taken place, last Sunday (10), during the 2024 edition of the festival Afropunk in Savior. The second takes place in Flying Circus, Rio de Janeironext Thursday (21). The last two occur in São Pauloin different contexts: Saturday (23), in front of thousands of people in the Allianz Parqueas the opening attraction of Lenny Kravitz; Sunday (24), in a more intimate context, in Cinema Joia. Tickets are on sale on the Eventim website.

THE Rolling Stone Brazilthe artist says she is “extremely grateful” for the opportunity to perform another sequence of performances in Brazilian territory, as in 2016 and 2023. Fans should expect a repertoire that covers her three albums and even new songs. He didn’t talk about special appearances, but it’s not unlikely to expect something that happened in Salvador: a new collaboration with Linikerwhich will also serve as the opening attraction for Kravitz on Saturday (23). She reflects:

I’m excited to share my music in different spaces, meet the public and Brazilian people who already listen to me, but also, perhaps, gain new fans by playing for the audience at Lenny. I’m really excited — maybe a little nervous, but I think it’s going to be okay.”

Previous trips took place in 2016 and 2023. The first time, it opened to the Coldplay in São Paulo (at the same Allianz Parque where he plays on Saturday, 23rd) and in Rio de Janeiro (at the Maracanã stadium). Lianne says that, on that occasion, he immediately fell in love with Brazil — and today he is proud of having managed to perform in such large venues so early in his career, at the age of 26.

The second occasion, at the beginning of last year, involves an urban legend partially confirmed by the Englishwoman. Some say she was in Brazil on vacation. Other versions indicate that he came to the country in search of inspiration to compose new songs. The fact is that he was offered to perform at Clube Manouche, in Rio, and at Cine Joia, in São Paulo. Suddenly, the performances were announced to the public a few days before they took place — and the demand for tickets was such that she had to schedule extra dates in both cities. Already on stage, he admitted that he did not intend to accept the invitation to perform shows.

Upon being informed about the so-called urban legend, Lianne He laughed and said: “it’s half true, but not completely”. She was in the country to record an appearance in Milton + hopealbum released last August by Milton Nascimento in partnership with the American jazz double bassist Esperanza Spalding. The collaboration took place on the track “I miss Panair planes (talking at the bar)”also next to Maria Gadú, Tim Bernardes and Lula Galvão.

[Risos] This is very funny. It’s true that I was on vacation. It’s also true that I was looking for inspiration, because that’s always true. But the real reason was that I was here to record with Esperanza Spalding and the Milton Nascimento. And the opportunity to do some shows came up. I couldn’t say ‘no’. For me, it was also an incredible memory. I’m so happy to have done these shows and for the people I met. Furthermore, it had been seven years since I had last been to Brazil. So I wanted to make sure I could come and see everyone. So yes, it’s kind of true, but not completely true.”

The partnership with the idol

It is known that the connection with Milton Nascimento had appeared before the invitation to participate in the album. So much so that, in June 2022, Lianne La Havas sang live “Meetings and Farewells” — with impeccable Portuguese — alongside his idol during his show at the Union Chapel, in London. However, the opportunity to record a song in the studio proved even more special for the London artist, who filled Bituca of praise.

It was unbelievable, very magical. I still can’t believe it happened. I think he’s one of the greatest artists we’ve ever had. One of the greatest composers, performers, singers and musicians. In person, he has a very magical presence. It’s from another world. And I found it very profound to talk to him, to be next to him, to hear his voice and to sing alongside him. Even recording my vocals with his vocals playing through my headphones was an unbelievable experience. And also work with Hopewho I’m a big fan of. I respect her a lot. It was a great honor, one of the best things I’ve ever done.”

If Lianne is “learning” to speak Portuguese, the experience of recording “I miss Panair planes (talking at the bar)” it certainly helped her in the process. As in the live interpretation of “Meetings and farewells”your fluency in the language is impressive. Even so, she guarantees that she has not had an easy life.

I listen to a lot of Brazilian music and lyrics in Portuguese. So, for me, the difficult part was reading the page with the lyrics and singing at the same time, because I know how it sounds, but reading it is like really understanding the meaning. It took a while, but I felt even more connected to the culture and country doing it. It was a little difficult, but I think spending time here makes things a little easier. It ends up coming naturally after a while.”

Brazilian music and connection with Brazil

Milton Nascimento is, in fact, just the tip of the iceberg of the relationship that Lianne La Havas has with Brazilian music. In fact, the way the artist got to know the work of Bituca shows that, at the same time, she had access to several other legendary names.

I discovered the Milton through an album I found, a compilation of Brazilian music organized by David Byrne (Talking Heads) call Tropical Beauty. Sorry, I don’t remember where I got the album or why I got it, but I put it on and let it flow. Then, certain songs stood out to me. And that’s how I found out Milton on this album.”

The compilation mentioned by Lianne was released in 1989 and also features songs by Jorge Ben Jor (at the time, Jorge Ben), Gilberto Gil, Caetano Veloso, Maria Bethânia in partnership with Gal Costa, Chico Buarque, Lô Borges and Nazaré Pereira. When invited to name other Brazilian artists she admires, she reinforces Caetano and highlights other names discovered in other ways: Elza Soares, Edu Lobo, Djavan, Bullet Desire and Liniker. Also points out:

I think they all have incredible voices and songwriting and just the spirit of the country can be heard in all these different genres, but they are united by that spirit and the language, the poetry.”

The influence of Brazilian music is such that it can be felt in his compositions. The report exemplifies during the chat when citing “Seven Hours”a track featured on his 2020 album of the same name, and Lianne thanks, also making a revelation:

To me, it’s a compliment that you can hear this, because I literally was listening Milton that day when I wrote this song, the song ‘All you could be’ (Clube da Esquina). I really wanted to capture this essence that I love about Brazilian music. I love the guitar too. It’s a huge compliment that you can hear that in this song, in particular.”

Vulnerability that empowers

In recent years, Lianne La Havas She has been doing shows alone. For real: no backing band, just her on stage, singing and playing guitar. Every now and then there is a guest on one or two songs, but nothing more. And no using pre-recorded bases, loops and the like: it’s all 100% live.

It seems like a risky decision, especially considering that some of their performances are held in large venues, either as part of a festival or opening for a popular artist. But just listen a little and everything makes sense. She explains her motivations, which extend to her work in the studio:

Playing live is different from recording, but playing alone allows me to really refine the song, because there’s nothing else there. If it sounds good with just one instrument, I’m excited to think about how I can interpret that on a recording. This allows me to get back to the raw element of what the song is about and its meaning. And then I can think about how to convey the meaning with sound. I just want to connect with the words, the melody and the rhythm.”

Asked if there is any insecurity about presenting herself alone in such large spaces, Lianne admits feeling “very exposed and vulnerable at times”. However, this same feeling can occur when you are with a band, since such fragility is also related to the songs.

It can be challenging if I feel emotionally vulnerable, but it’s very empowering either way. I love doing this, because I think it’s very impactful when you have a big audience or a big space and it’s just you. I find it very striking and empowering. I like it, I just need to make sure that emotionally, on that day, I’m OK.”

La Havas confirms that she has been composing material for her next album, still without a title or release date, but projected for 2025. She even cryptically declares that next year she intends to follow her “artistic impulses, perhaps in ways that are not music” . Whatever it is, we’re pretty much certain it’ll be great.

*Lianne La Havas appears in the Flying Circus, Rio de Janeironext Thursday (21). Then proceed to São Paulo: Saturday (23), performs at Allianz Parqueas the opening attraction of Lenny Kravitz; Sunday (24), in a more intimate context, plays at Cinema Joia. Tickets are on sale on the Eventim website.