Podcast Summary
Overview
Episode Title: 'Mexodus' Tells the Story of the Southern Underground Railroad
Podcast: All Of It with Alison Stewart, WNYC
Release Date: October 7, 2025
This episode dives into the creation and significance of Mexodus, a new hip hop musical uncovering the little-known history of the Underground Railroad that ran south—from the United States to Mexico. Hosts Alison Stewart interviews the musical's creators and stars, Brian Quijada and Nigel D. Robinson, about musical process, overlooked history, approaches to storytelling, and the resonant themes in their show. The conversation explores intersectionality, musical innovation, and the enduring power of friendship and collaboration.
Key Discussion Points & Insights
The Hidden History: The Southern Underground Railroad
Main Topic Introduced [01:19 – 03:25]
- Most Americans learn about the Underground Railroad as an escape north; however, Mexodus explores the stories of 5,000–10,000 people who escaped slavery by heading south to Mexico, where slavery was abolished in 1837.
- The musical aims to illuminate this lesser-known migration and its impact, with characters inspired by a blend of real stories and historical research.
"Did you know this? We didn't know this. Did you know this? We didn't know. Why? Cause it wasn't allowed. It wasn't allowed. It wasn't spoken." —Nigel D. Robinson & Brian Quijada, performing 'Two Bodies' [02:42 – 03:04]
Creators’ Discovery & Collaboration
Genesis of the Project [04:00 – 05:42]
- Brian first encountered the southbound Underground Railroad through a history.com article in 2017, keeping the idea in his notes until meeting Nigel.
- Their partnership began serendipitously at an actor musician conference right before the pandemic, catalyzing the development of the show.
"So he was like, dude, have you ever heard of the Underground Railroad that went south to Mexico? And I was like, what are you talking about? And then it hit me, and I'm like, oh, that makes perfect sense... But I've never heard of that." —Nigel D. Robinson [04:53 – 05:37]
Musical Influences & Looping Innovation
Backgrounds & Creative Process [05:51 – 10:00]
- Both grew up in musical households: Brian in a multi-genre, immigrant family; Nigel with church roots and a transformative uncle who introduced him to classic Black music.
- Their musical process centers on looping—layering live instrumentals and vocals onstage, creating all soundscapes in real time using foot pedals and a stage-wide system, for which they collaborated with sound designer Misha Fixel.
"Looping is just layered music making... The machine records. And then you can drop the guitar, go to a bass, drop in a bass line, drop the bass, go over to the percussion, and lay, you know, little samples of sound that eventually layers like a cake." —Brian Quijada [08:44 – 09:31]
Characters and Storytelling
Crafting Carlos and Henry [10:15 – 13:18]
- Both characters are composites: Carlos is a former Mexican army medic displaced by the Mexican-American war, Henry a Texan fleeing slavery, both reflecting common and divergent struggles caused by white supremacy and colonialism.
- The show interweaves personal and historical material, at times blurring the character’s and creators’ identities—creating authenticity and deep empathy.
"These people are us, and they are, like our ancestors. You know what I mean? So, like, we step into that and, like, Henry is, like, very... I'm philosophical... And Brian as well. Like, we are ourselves as these people, but we are everyone that we have come from, you know, or we try to be." —Nigel D. Robinson [12:41 – 13:18]
Research and Essential Elements
Authenticity & Symbolism [13:18 – 15:04]
- The symbolism of the cotton bale—historically used as both a tool of oppression and liberation for Henry—was an essential narrative, transformed into a song and pivotal moment.
- The creators’ research included both scholarly and folk narratives, particularly drawing from Texas stories and the book South to Freedom.
"The thing that enslaved this man for his entire life is the thing that sets him free... there’s something about that united these men in how they were affected by white supremacy, you know, like, and how they were affected by colonialism and imperialism." —Brian Quijada [13:24 – 15:04]
Musical Excerpt: 'Wade in the Water (Remix)'
[15:05 – 17:02]
- Henry faces the perilous crossing of the Rio Grande, using the cotton bale as a raft—struggling, reflecting, and striving for freedom. All musical effects and soundscapes are produced live by the two performers.
"If I can just cross that Rio Grande, I'll get to the land where slavery's bad. Hold fast, boy and be not dismayed, the glory of the Lord will be displayed so just wait in the water, Henry..." —Nigel D. Robinson (performing) [15:38 – 16:59]
Technical Wizardry: Pedal System
Stage as Instrument [17:07 – 18:19]
- 16 pedals across the stage allow the actors to record, layer, and manipulate tracks for each song, creating and deconstructing music live, completely in sync with the narrative flow.
"The buttons all over the stage do one of two things. They either armor record, meaning we press it and then we start recording... The other function... it progresses the song forward... So the programming in the show knows how the song goes." —Brian Quijada [17:11 – 18:19]
Genre & Artistic Identity
Hip Hop & Multiculturalism [18:54 – 23:29]
- The show is primarily hip hop but draws from gospel, funk, and Mexican boleros.
- Hip hop is used for its expressive density and political roots, seen as essential for telling this kind of history.
"There's a rate at which you can say things in hip hop... Hip hop is like a very passionate art form. It's a very political art form. It's based out of struggle." —Nigel D. Robinson [19:07 – 19:30]
- The hosts and creators address comparisons to Hamilton; while appreciative, they emphasize their show’s distinct perspective and authenticity as a black and brown story told from within those communities.
"At face value... they're rapping and they're black and brown. But that's the only thing that's similar... we’re two black and brown people telling a black and brown story in a way that is very organic to us." —Nigel D. Robinson [20:32 – 21:37]
- There is purposeful use of un-translated Spanish in the show, both for authenticity and to let non-Spanish speakers experience Henry’s perspective as a newcomer, fostering empathy and inclusion.
"If we're gonna place a musical, half of it in Mexico, we should be speaking Spanish... Henry doesn't speak a lot of Spanish. And I think the audience who doesn't speak Spanish should experience what he's experiencing." —Brian Quijada [22:48 – 23:30]
Themes of Friendship and Ancestors
Personal & Universal Messages [23:30 – 27:58]
- The friendship between Henry and Carlos develops in tandem with the creators’ own relationship; the story is ultimately about unlikely allies supporting each other in adversity.
- A powerful question lingers over the narrative and is posed to the audience: “What are you choosing to do with the days your ancestors have earned you?” The hosts and guests discuss how this resonates differently by background and invites self-reflection.
"What are you doing with the days that you got given? Are you trying to give it back to someone else? Are you, like, being greedy? You know... that's the conversation I hope is being had after the show." —Nigel D. Robinson [25:01 – 26:13]
- The show also prompts examination of privilege, anti-Blackness (including in Latinx communities), and reframes the story of border crossing from a “reverse” perspective.
"This is a reverse border story. This is a story of an American... crosses the border to safety for a better life in the opposite direction than when we see that border now." —Brian Quijada [26:14 – 27:58]
Notable Quotes & Memorable Moments
On Uncovering Hidden Histories
- "We struggle to uncover America's other boundest fight to live in this America." —Brian Quijada [03:05]
On Musical Innovation
- "Once we've added every single element of a song... the programming in the show knows how the song goes. And so that's how we are able to call all of the sound ourselves from onstage." —Brian Quijada [17:11 – 18:19]
On Artistic Legacy
- "What are you choosing to do with the days your ancestors have earned you?" —Asked within the show, reflected on by both guests [25:01]
Key Timestamps
| Segment | Timestamp | |-------------------------------------------|--------------| | Introduction to Mexodus | 01:19–03:25 | | Origins of Collaboration | 04:00–05:42 | | Musical Backgrounds / Influences | 05:51–10:00 | | Character Creation & Story Structure | 10:15–13:18 | | Research and Symbolic Moments | 13:18–15:04 | | 'Wade in the Water (Remix)' Performance | 15:05–17:02 | | Stage Technology and Looping Live | 17:07–18:19 | | Hip Hop Musical—aesthetic and comparison | 18:54–23:29 | | Language, Identity, & Cultural Integrity | 22:41–23:30 | | Friendship & Resonant Questions | 23:30–27:58 |
Conclusion
This episode of All Of It offers an insightful exploration into how Mexodus reclaims lost narratives through musical innovation, powerful performance, and authentic representation. Through stories, samples, and candid conversation, Quijada and Robinson make a compelling case for the transformative power of the arts—to entertain, to educate, and to challenge cultural boundaries.
Mexodus is running at the Minetta Lane Theater through November 1st.