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Speaker 1: The energy of the audience is so welcoming and so loving.

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Speaker 2: I don't know how to explain it.

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Speaker 1: It's like this kind of gratitude, like thank you so

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Speaker 1: much for being.

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Speaker 2: Here, thank you so much for singing this music.

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Speaker 3: From Fudro Media and PRX. It's Latino usay, I'm Maria

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Speaker 3: no josaf Today singer and composer silvan Estrada and her

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Speaker 3: journey to finding freedom in music. Silvan Estrada's music is

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Speaker 3: all in Spanish, but you don't have to speak the

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Speaker 3: language to feel everything she's expressing on stage.

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Speaker 4: Seal Hones.

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Speaker 1: It's like a space of total freedom. With the vocals,

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Speaker 1: you can say so much. It was all about the feelings.

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Speaker 1: My voice can tell a whole story, a whole vibe.

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Speaker 3: The twenty four year old Mexican singer and composer's debut album, Marchita,

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Speaker 3: came out in early twenty twenty two.

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Speaker 4: Maybe still bodily consume itsuming sula.

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Speaker 3: Marchita picks up right at the end of a relationship,

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Speaker 3: at a point where a broken heart is still in

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Speaker 3: mourning but also so slowly starting to mend. Her delicate

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Speaker 3: string and piano compositions draw inspiration from Mexican folkloric music

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Speaker 3: and jazz standards, and as Silvana herself admits, her lyrics

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Speaker 3: blur into poetry. She's been a writer since childhood, Sila man.

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Speaker 4: It's tetris wells land.

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Speaker 3: Lusimp insu in Marchita. The kind of emotion Sylvana evokes

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Speaker 3: is universal. There's yearning and sadness in the music, but

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Speaker 3: there's also so much.

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Speaker 2: Love and joy.

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Speaker 3: Silvana has captivated audiences across Mexico, Spain, and now the

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Speaker 3: United States, where she toured for the first time this year.

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Speaker 1: I don't know why, but people here open their hearts

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Speaker 1: and let music in, and for me, that's like pure gold.

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Speaker 3: Her parents are both luthier's craft makers, specializing in making

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Speaker 3: instruments like violins, viola's double basses, traditional instruments like the

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Speaker 3: Mexican harana, pretty much anything that's wooden and string. Recognizing

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Speaker 3: the creative calling within her, Selvana decided to forge her

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Speaker 3: own path forward. On this episode, Selvana talks about her

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Speaker 3: musical upbringing, finding her voice, and the rush of releasing

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Speaker 3: her first album. Silvana is going to take it from here.

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Speaker 4: SI for Casilans.

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Speaker 1: You still and I grew up in Racruz Mexico in

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Speaker 1: a little town Quateepic. To go to my house, you

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Speaker 1: need to get to Halapa, just the capital of Beverracruz,

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Speaker 1: and then you need to drive like half an hour

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Speaker 1: to Quetepic. You're going to just go out downtown que big,

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Speaker 1: and you're going to just like climb and climb and climb.

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Speaker 1: You're gonna spend like, I don't know, another half an

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Speaker 1: hour climbing the mountain. I don't know if climbing is

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Speaker 1: the word, but suvi la montagne, right, And then you're

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Speaker 1: gonna be surrounded by green everything.

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Speaker 2: It's going to be green, green, green, green green.

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Speaker 1: And if you're there in April, it'll be like full

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Speaker 1: of yellow butterflies and orange butterflies and sometimes blue velvet,

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Speaker 1: big ones.

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Speaker 2: There's a tiny caminito, like a tiny road to my home.

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Speaker 1: You will open like a big, big door. I don't

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Speaker 1: know why we have that door because it's always falling apart.

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Speaker 1: You're just gonna cross the gardens. Then my house is

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Speaker 1: an old wooden house, like I mean, it's big, but

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Speaker 1: it's not fancy at all.

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Speaker 2: It's just the opposite. It's just wooden with big windows.

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Speaker 1: That was it.

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Speaker 2: I mean that was my childhood.

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Speaker 1: I spent there running into the rainforest and then going

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Speaker 1: to the river.

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Speaker 2: I mean it was like super cold, super super cold.

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Speaker 2: It's also really really clean. It's water that you can

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Speaker 2: actually drink.

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Speaker 1: I guess that way of growing up just connected me

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Speaker 1: with Latier, I don't know, with the earth and the nature.

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Speaker 2: And at the same time, I grew up a little

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Speaker 2: bit isolated.

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Speaker 1: So I guess that's why music is so important to me,

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Speaker 1: because it was like my connection with the world. I

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Speaker 1: remember spending my days in the summer singing and writing

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Speaker 1: and playing instruments sings.

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Speaker 2: I was super young, I don't know, like ten years

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Speaker 2: or so.

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Speaker 1: And I also grew up surrounded by musicians because my

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Speaker 1: parents are luthiers. I really love the sound of the

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Speaker 1: tuning of a violin. That's like my favorite sound in

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Speaker 1: the world and reminds me so much to my parents

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Speaker 1: and all these musicians who came to my house. We

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Speaker 1: had always like musicians trying for the first time instruments like.

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Speaker 2: New violins or new violas or new double bassis music.

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Speaker 2: It was just a wait to create community.

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Speaker 1: I mean I remember as a kid having this huge

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Speaker 1: family dinners, all of us just there in my house,

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Speaker 1: just singing together. And when I started to take decisions

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Speaker 1: like okay, who I want to be, what I want

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Speaker 1: to do, like for a living, it was supernatural for

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Speaker 1: me just to choose music.

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Speaker 2: It has been like so organic.

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Speaker 1: I was really young, like seven years old or even less,

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Speaker 1: and I was studying piano and violin and then viola.

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Speaker 1: I ended up really angry with the string the classical instruments.

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Speaker 1: I love those sounds. All my album is covered on

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Speaker 1: those sounds, but it's so hard. My mom she woke

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Speaker 1: me up, I don't know, like at five in the

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Speaker 1: morning in order to study violin, and then I get

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Speaker 1: traumatized because it was super early in the morning, and

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Speaker 1: he was like, you know, my sound, it was awful

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Speaker 1: and it's like years and years and never improved.

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Speaker 2: So I was like, okay, I'm done with these instruments.

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Speaker 2: They're too hard.

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Speaker 1: And at some point when I was like twelve, I

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Speaker 1: was like, okay, no, I don't want anything of this.

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Speaker 1: I remember I was all about volleyball. I wanted to

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Speaker 1: be a professional volleyball player. And then seeing when I

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Speaker 1: found out Billie Holiday and all the jazz singers, I

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Speaker 1: was like, okay, I want to do that. I don't

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Speaker 1: know I even want to do that for a living,

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Speaker 1: but I really need to learn how they do what

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Speaker 1: they do. Like it was mind blowing to all those

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Speaker 1: videos of Ella Fidial just improvising and scatting, just being

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Speaker 1: amazing with free but also every time in control of

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Speaker 1: the stage. My music is deeply rooted in Latin American

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Speaker 1: culture and music and music from Mexico. It's also music

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Speaker 1: where you can actually hear a lot of freedom.

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Speaker 2: For me, that's super connected with my ears studying.

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Speaker 1: Jazz, because I was all about just having fun with

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Speaker 1: my own voice and with my vocals and just to

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Speaker 1: be free.

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Speaker 2: Every time.

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Speaker 1: I started to have all these ideas, and at some

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Speaker 1: point I started to compose with the piano and that

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Speaker 1: didn't worked. Every time that I was playing the piano,

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Speaker 1: I was thinking all about harmony and all the things

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Speaker 1: that I was learning in school. And then with the harana,

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Speaker 1: I also played the har the haranas, the traditional instrument

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Speaker 1: from Drakruz. I was just singing son carorocho like it

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Speaker 1: was in my ear, like okay, this instruments from sonkroocha.

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Speaker 1: And every time that I was trying to compose in

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Speaker 1: the Harnda. It was all about son Carorocho. And then

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Speaker 1: I just discovered the Quadro.

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Speaker 2: And Solana super random.

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Speaker 1: It was in my dad's studio and I get there

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Speaker 1: and I took the quadron and I started to play it,

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Speaker 1: and I just felt in love immediately.

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Speaker 2: It was so new to me.

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Speaker 1: I was feeling that I was inventing the chord of

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Speaker 1: G major. Really, I was just putting a finger on

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Speaker 1: the strings. It was the most simple chord. But to

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Speaker 1: me it was so new that I was like, Okay,

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Speaker 1: I'm inventing the music. Really, I'm still learning it because

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Speaker 1: it's so rich. I really like to not know things

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Speaker 1: because then I can actually be like super creative about them.

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Speaker 1: Since then, I've been just writing songs. I feel like

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Speaker 1: it's the only thing I want to do. I always

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Speaker 1: felt like music it was the way that I had

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Speaker 1: to find my connection to real world. Now I feel

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Speaker 1: like it's different. It's my way to actually going out

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Speaker 1: of the world.

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Speaker 4: Is does it.

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Speaker 2: Might cheat?

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Speaker 1: That comes from this necessity of understand what is going

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Speaker 1: on inside my chest and my soul and my heart.

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Speaker 1: I never thought like, Okay, I'm gonna write this because

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Speaker 1: I want to do an album and I want to

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Speaker 1: play this music for a lot of people.

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Speaker 2: It was not like that at all.

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Speaker 1: Marchita is like this journey through my emotions, just to

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Speaker 1: put names and images.

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Speaker 2: To what I'm feeling.

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Speaker 4: You know.

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Speaker 1: It was really like a necessity. It was really like

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Speaker 1: a therapeutic journey. Yes, it was a really lonely process.

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Speaker 1: Actually it was just me in my house, literally in

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Speaker 1: my bed with my instrument. I was just really sad.

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Speaker 1: I was, I don't know, like losing my first idea

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Speaker 1: of love, and that's super tough for everybody. This album

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Speaker 1: is just about to put some light and some beauty

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Speaker 1: into that dark process. That's why I know that it's

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Speaker 1: a sad album, but to me, it's all about light.

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Speaker 1: It's dark because it's dark, I can't help it. But

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Speaker 1: it's an album that definitely is searching for.

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Speaker 2: The light all the time.

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Speaker 1: So one of those is the first song that I

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Speaker 1: wrote for Marquite. It's like the song that starts everything

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Speaker 1: fussy to finally find the right production for this song,

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Speaker 1: the right arrangement, the right family, like to have the

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Speaker 1: water though covered in these beautiful voices and in this

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Speaker 1: beautiful string arrangement. It was so important to me because

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Speaker 1: it's like the first song that I shared with the

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Speaker 1: world and like a first attempt of doing an album,

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Speaker 1: and then to have this song where I wanted to be,

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Speaker 1: it's just special.

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Speaker 2: The most important songs for me right now are sad.

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Speaker 1: I love to sing that song and it's definitely like

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Speaker 1: a healing song to memeroyte it.

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Speaker 2: Can all. I think the song was even meant to

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Speaker 2: be in the album. We were just playing around with

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Speaker 2: this song, you'll say. I was like, oh, hey, guys,

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Speaker 2: I just did this song, let's play it.

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Speaker 1: And it was beautiful, really, and that's the take that

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Speaker 1: we have in the album, just one take, and it

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Speaker 1: was so magical, like those moments where you realize, Okay,

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Speaker 1: this is a moment that I will remember like for

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Speaker 1: the rest of my life. There's some moments recording this

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Speaker 1: music and producing this music where it was just natural

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Speaker 1: to me to invite the musicians or myself just to improvise,

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Speaker 1: just to.

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Speaker 2: Play a little bit with the music.

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Speaker 1: When I sing that song, because I'm actually talking about

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Speaker 1: this house that my parents built in the countryside of

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Speaker 1: what the Pig. That song it was all about improvisation.

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Speaker 1: It was not even improvisation with their instruments. I mean

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Speaker 1: we were all around the house just making noises. And

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Speaker 1: Diego player he was playing the saxophone, but he was

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Speaker 1: doing like all these crazy crazy noises like a giraffe.

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Speaker 2: You know, was the sound of an elephant. And he

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Speaker 2: was playing around with all this crazy sounds.

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Speaker 1: And then I was in the kitchen making noises with

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Speaker 1: the thedores and the glasses and with the doors.

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Speaker 2: That was so much fun. That was so much fun.

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Speaker 4: So honey and else good saying suportally wow, Well, so.

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Speaker 1: I just came out with my album, so people now

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Speaker 1: was like singing and singing all the songs.

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Speaker 4: Like you could say, no, this is so much do

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Speaker 4: you want to sing with me?

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Speaker 1: For me, that's pretty new because I was singing these

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Speaker 1: songs without an album. So very very very fan they

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Speaker 1: will sing the songs because some of the songs are

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Speaker 1: on YouTube, but now all the songs are everywhere, So

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Speaker 1: for me it's super special to actually start the song

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Speaker 1: and then all the people starts also to sing the song.

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Speaker 1: In my audiences, there's like, of course a lot of Latinos,

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Speaker 1: a lot of Spanish speakers, but then I have like

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Speaker 1: this adult really like you know, like Anglo speakers that

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Speaker 1: come to the show and they're like super moved, and

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Speaker 1: I know that they are not understanding everything, but they're

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Speaker 1: like smiling, sometimes crying, and they're just they're like feeling

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Speaker 1: the music and getting moved.

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Speaker 2: And I know when this happened. I started singing and

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Speaker 2: I put so much emotion, and I know people is

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Speaker 2: understanding what's going on.

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Speaker 1: The energy of the audience is so welcoming and so loving,

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Speaker 1: but I don't know how to explain it. It's like

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Speaker 1: this kind of gratitude, like thank you so much for

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Speaker 1: being here, thank you so much for singing this music.

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Speaker 1: The same thing happened when I started to work with

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Speaker 1: class Note, my label in New York, because I'm their

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Speaker 1: first Latino artist. So I was like, why do you

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Speaker 1: want to work with me? Like I'm Latina, but I'm

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Speaker 1: a singer songwriter, Like I'm not going to like dance.

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Speaker 2: Or do like some reggaeton.

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Speaker 1: You should be clear on that because maybe you're thinking

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Speaker 1: something different just because I'm Latina. Sometimes I feel like

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Speaker 1: even more like a poet. I really want to know,

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Speaker 1: like what do you like about it? Because you don't

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Speaker 1: speak Spanish. And then in Glass the Boss, he was like,

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Speaker 1: we've been trying to work with a Latino artists and

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Speaker 1: we never find a person that moves us. And with

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Speaker 1: your music, we don't understand, but we feel what you're singing.

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Speaker 1: And I was like, okay, fair enough, then we could

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Speaker 1: work together. I was quarantining in siat de Mexico in

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Speaker 1: the summer and I was all by myself in this

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Speaker 1: super hot weather, and I was listening to a lot of.

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Speaker 2: Salsa all day because it was so depressing. I was like, okay, no,

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Speaker 2: I need to fight against this depression. So I was

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Speaker 2: listening to a lot.

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Speaker 1: Of salsa, a lot of bad chata of African music.

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Speaker 1: And so this new music is full of rhythm.

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Speaker 2: And I'm still speaking about love because I love to

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Speaker 2: speak about love.

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Speaker 1: But you know, I've been holding this music for years now.

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Speaker 1: So I'm at this point where I really need to

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Speaker 1: share my music with Free Murda.

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Speaker 5: You know, I'm in a hurry of nows.

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Speaker 3: Just This episode was produced by Alexandra, edited by Daisy Contreras,

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Speaker 3: and mixed by Julia Caruso. The Latino USA team includes

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Speaker 3: Andre Lopez Russado, Marta Martinez, Mike Sargent, Julia Ta Martinelli,

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Speaker 3: Victoria Strada, Rinaldo, Leanos Junior, Patricia Sulvaran and Julia Rocha,

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Speaker 3: with help from Raoul Perees. Our editorial directors Julio Ricardo Barella.

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Speaker 3: Our director of engineering is Stephanie Lebau. Our associate engineers

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Speaker 3: are gabriel A Bias and jj Carubin. Our digital editor

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Speaker 3: is Luis Luna. Our fellows are Elisa Ena, Monica Morales

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Speaker 3: and Andrew Vignales. Our theme music was composed by Zenia Rubinos.

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Speaker 3: I'm your host and executive producer Mariao Josa. I'll see

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Speaker 3: you again on our next episode, and in the meantime,

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Speaker 3: I'll see you also on social media. And don't forget

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Speaker 3: not deevayas Cao.

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Speaker 6: Latino USA is made possible in part by the Heising

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Speaker 6: Simons Foundation, unlocking knowledge, opportunity and possibilities more at HI

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Speaker 6: foundation dot org, the Ford Foundation, working with visionaries on

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Speaker 6: the front lines of social change worldwide, and the John D.

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Speaker 6: And Catherine T. MacArthur Foundation.

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Speaker 2: I did my own karanda.

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Speaker 1: That's when I discovered that I didn't want to beat

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Speaker 1: a luthier like my parents.

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Speaker 2: It was so hard to do my own karana