Alt.Latino: Rawayana on their new album and a changing Venezuela

Summary

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All Songs Considered: Alt.Latino

Rawayana on Their New Album and a Changing Venezuela

Air Date: January 21, 2026
Host: Ana Maria Sayer (with Isabela Gomez Sarmiento)
Guests: Fofo Stori and Beto Montenegro of Rawayana

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Episode Overview

In this episode of Alt.Latino, Ana Maria Sayer and Isabela Gomez Sarmiento dive deep with Venezuelan band Rawayana (Fofo Stori and Beto Montenegro) into their new album, Donde está el After. The conversation explores the album’s sonic and cultural roots, the shifting realities of being Venezuelan amid historic political changes, and Rawayana’s musical approach to capturing the complexities of national identity, party culture, and resistance, especially in the wake of the ousting of Venezuelan President Nicolas Maduro.

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Key Discussion Points and Insights

1. The Album’s Powerful Opening & The “Prediction” of Change

[00:40–04:15]

• The album opens with a bold line: “Raua wishes you a happy new year and may all the expletive expletives leave,” widely interpreted as a jab at President Maduro.
• Days after release, Maduro was ousted—leading many to see the lyric as prophetic.
• The band says this was not premeditated but rather a reflection of widespread Venezuelan sentiments.
  • Fofo Stori: “It was just about a feeling, you know, it was just letting it out, saying it out loud... just as a relief.” [04:15]
• The lyric’s ambiguity leaves room for listeners’ own interpretations—a core value in Rawayana’s approach.

2. Party Vibes and Sonic Diversity as a Metaphor for Venezuelan Life

[02:07–06:39]

• The album is musically structured like a house party—a deliberate thematic choice to capture both celebration and complexity.
  • Fofo Stori: “We were trying to figure out what was the best way to go about it, how direct, how fun to make it, how serious to make it.” [02:07]
• Incorporates “tambores de la costa” (Afro-Venezuelan drums) as a nod to festive traditions.
• The party element also reflects the juxtaposition of joy and hardship characteristic of contemporary Venezuelan existence.

3. Urban Music, Cultural Intersections, and Avoiding Labels

[06:39–10:28]

• Donde está el After draws heavily from Latin urban and Caribbean genres, especially those associated with Puerto Rico and the Dominican Republic.
  • The song “Querico, Puerto Rico” honors Puerto Rico’s musical influence and Rawayana’s own ties to the island.
• The band resists being labeled as “alternative,” preferring to incorporate dance and pop elements.
  • Beto Montenegro: “I don't like when people label us in a way. So we decided to be influenced by these artists that have been making us dance through all these years.” [07:52]

4. Dominican Merengue-House Nostalgia & Musical Identity

[09:49–16:03]

• “Amor de Contrabando” features Dominican merenhouse and Magic Juan, reflecting the soundtracks of the band members' childhoods.
• Discuss nostalgic ties to 90s acts like Proyecto Uno, Sandy Papo, and El Alacrán.
  • Beto Montenegro: “Mine. Sandipapo. I was a huge Sandeepo fan. La Chica Sexy. ETI Huron from Proyecto Uno.” [14:29]
  • Fofo Stori: “It was so mainstream back in Venezuela... But then growing up... you start, like, digging it, how they came up with it and what was the context musically and culturally.” [14:56]
• Rawayana’s ethos: mixing their identity with what inspires them, extracting new personality from diverse musical roots.

5. Folkloric Depth and Duality: The Song “Tonada Por Ella”

[17:53–22:16]

• Late in the album, the track “Tonada Por Ella” delves into Venezuelan folk (“tonada”)—used traditionally to calm cows for milking.
  • Fofo Stori: “It’s sort of our version of yodeling, but I think ours is prettier.” [21:08]
• This song represents a shift from party to reflection within the album’s “house party” arc—a metaphor for emotional balance amidst chaos.
  • Beto Montenegro: “It’s fine that we are talking about sensuality and sex and funny stuff. But also we feel this way. And I feel that the tonada genre is the perfect context to say what we said in that song.” [18:33]

6. The Party as Resistance & the Reality of Venezuelan Happiness

[22:16–23:33]

• The album’s contrast—joy amid hardship—mirrors Venezuela’s social contradictions.
  • Beto Montenegro: “You would not imagine like a country ... always conflict would have so much happiness. ... Dancing is a way to resist any situation in a way, even that feels contradictory.” [22:54]
• Reference to cities like Berlin as places where historic trauma has evolved into vibrant music cultures.

7. Living Through Crisis: Skepticism, Resilience, and Future Hopes

[23:54–26:50]

• The band describes growing a “thick skin” from living through repeated historical upheavals.
  • Fofo Stori: “You also get this skepticism, you know, and you're still optimistic and hopeful, but also, you know, where to draw a line until what could actually happen actually happens.” [23:54]
• They acknowledge the confusion, rapid changes, and media manipulations of the current moment while trying to remain focused.
  • Beto Montenegro: “With this project, we don't have the answer of where is the after. But I definitely feel that we have to think about it. ... I hope, and not only that, I hope I'm convinced that we have learned this lesson and ... are ready to design a better future for us as a generation.” [25:21]

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Notable Quotes & Memorable Moments

• “There’s no way you can plan anything like that ... it was just about a feeling, you know, it was just letting it out, saying it out loud in a way, just as a relief.”
  — Fofo Stori on the “predictive” lyric [04:15]

• “When you want people like, toxic people out from your life, in a way. No, but yeah, it was crazy, and it was, like, scary in a way. I was a little bit nervous, though.”
  — Beto Montenegro on the lyric’s implications [05:23]

• “Latin urban music became so big in pop culture, and in a way, we have been, like, in this alternative side of the industry that I really don't like that ... So we decided to be influenced by these artists that have been making us dance through all these years.”
  — Beto Montenegro [07:52]

• “Venezuela has always been like, a melting pot in that way. And Anglo music has always been around. ... Even the Afrobeats, like all of Caribbean music is derivative from West Africa mostly.”
  — Fofo Stori [12:36]

• “House parties are usually also longer parties. ... There's like the typical part where you're later on at night, you get a little bit philosophical and nostalgic. Like, it’s very real that there’s room for that in that type of context.”
  — Fofo Stori on the album’s party arc [21:19]

• “Dancing is a way to resist any situation in a way, even that feels contradictory.”
  — Beto Montenegro [22:54]

• “We have learned this lesson and ... are ready to design a better future for us as a generation. That's how I feel. That’s why we are so optimistic with the album and with the ideas and with celebrating, thinking about the future.”
  — Beto Montenegro [25:21–25:50]

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Important Timestamps

• 00:40–01:25: The album’s opening lyric and its political context.
• 02:07–03:42: The party theme and Venezuelan Afro-drum traditions.
• 04:15–06:39: Reaction to Maduro’s ousting; universality of the album’s message.
• 07:52–10:28: Puerto Rican and urban Latin influences; resistance to being labeled “alternative.”
• 14:26–16:03: 90s merengue-house nostalgia and Rawayana’s ongoing musical fusion.
• 17:53–22:16: “Tonada Por Ella”: embracing folkloric roots for emotional depth.
• 22:54: The paradox of Venezuelan happiness and the role of dance and celebration as resistance.
• 23:54–26:50: Living through crisis, skepticism, hope, and future thinking.

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Tone and Atmosphere

The conversation is warm, genuine, and candid, oscillating between humor, nostalgia, and deeply felt reflections on identity and resilience. The band’s outlook, even amid national uncertainty, is defined by a blend of cautious hope, creative ambition, and a passionate embrace of Venezuela’s cultural contradictions.

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For anyone curious about Venezuelan music, Rawayana’s artistic journey, or how artists grapple with evolving national identity during times of upheaval, this episode is a vibrant, thought-provoking listen.

Transcript

[Narrator/Announcer]

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[Isabela Gomez Sarmiento]

A quick note before the show.

[Narrator/Announcer]

This podcast contains explicit language.

[Ana Maria Sayer]

From NPR Music, this is Alt Latino. I'm Ana Maria Sayer. Felix, is Sarah sadly once again away this week, but never fear, I have my amazing, wonderful colleague Isabela Gomez Arimiento on the mic with me. Hello, Issa.

[Isabela Gomez Sarmiento]

Holis.

[Ana Maria Sayer]

Holis, thank you for coming and saving me.

[Isabela Gomez Sarmiento]

Once again, thank you for having me. Anytime.

[Ana Maria Sayer]

Okay, so on January 1st, something a little bit crazy happened. The Venezuelan band Rawayana, which we've talked about a lot on the show, released an album that started with a line that felt like it predicted perhaps one one of the biggest global stories of the year.

[Isabela Gomez Sarmiento]

So to translate briefly, the song is basically saying, raua wishes you a happy new year and may all the expletive expletives leave. It was a very loaded line. And although they're not naming anyone, it was assumed by a lot of Venezuelan listeners that they were referring to Venezuelan President Nicolas Maduro. A couple of days later, he was ousted by US forces and is currently in custody in New York City.

[Ana Maria Sayer]

There's a lot we still don't know about a very much real time developing story in Venezuela. But what we did want to do is take a minute to talk about this album. Donde ese Laughter from Rawayana. Because really what it is is a sonic, lyrical, thematic overview of the diversity, depth, complexity of what it means to be a Venezuelan in today's world.

[Fofo Stori]

World.

[Isabela Gomez Sarmiento]

And to help us go deeper into that album and what it means for this moment, we spoke to two of Rana's members, Fofo Stori and Beto Montenegro. We started by asking them to take us back to the very beginning and what that line means as a kickoff for the album.

[Fofo Stori]

Well, I, I remember it. It was later in the process of the album. We were kind of wrapping up the album by then. We were in. In Puerto Rico and Veto had this idea to, you know, the whole concept of the album is it's based musically especially, and like sound design wise, it's based on a house party. So what would kick off that energy immediately? So for us that one of the most festive rhythms or sounds that we have in our country are los tambores de la costa, like Afro Venezuelan drums. So Beto had this idea to integrate that somehow and we started like messing with what to sing over it. And it was very quick when Beto had this idea, like, let's just go with this. This is how we actually feel. This is how most of our country feels. It has some layers that can be relatable not only to Venezuelans. And, yeah, it was kind of a funny debate. We were trying to figure out what was the best way to go about it, how direct, how fun to make it, how serious to make it. Do you remember anything else, Beto?

[Beto Montenegro]

I feel it was like, because we were always thinking about a DJ set in a house. So for us, it was like, if we think about a Venezuelan DJ rocking a party, how would this DJ come to this party? So we choose the Tambores.

[Isabela Gomez Sarmiento]

Yeah, it's a big burst of energy to start the album. And obviously, Fofo, like you were saying, there's like, a double meaning in those lyrics, right, about certain people leaving. And I think that can be interpreted in so many different ways. I think for Venezuelans, there's a very specific meaning attached to that. And then almost immediately after it came true, the president of the country was ousted by the US I'm curious how you guys reacted to not just the news, but to the album, sort of predicting that something that big was gonna happen so early in the year.

[Fofo Stori]

Well, you can imagine it really was not like. I mean, there's no way you can plan anything like that. I mean, we definitely get that it feels that way, like it predicted it. But I remember at the studio, it was just about a feeling, you know, it was just letting it out, saying it out loud in a way, just as a relief. And it's also very important to us to leave room for interpretation. So stuff can mean whatever people feel it can mean for them, and that's very important and magic about what we do. So the way it all turned out, it was just surreal. It was like, what is actually going on? What. What does this mean? And. But, yeah, me personally, I don't know better, but me personally, like, the news were so major for us as a country that I really, personally wasn't, you know, that stuck thinking about our. Our intro and our song and our album. You know, it was. It was. It's so not about us. I don't know. How do you feel about it?

[Beto Montenegro]

But two things. The first one is that it's not done yet, though. So it's not that we predict nothing. This is a really, like, bizarre situation in terms of the country. Then the second thing is that I was like, we party a lot the first night because we did the release party in Madrid. So then the second day, and everyone was calling, and I saw all the videos, like, everybody dancing to a song. So in my mind was like, oh, my God, we're gonna end up in jail. This is getting so crazy. But, yeah, no, definitely, that's what I thought it was like. Come on. Wow. This is so crazy that it's happening. And we wanted to say it because it's what a lot of people think. And it's not just from one side of the. Of the political side. It's not just for one side. You know, everyone feels that in a way, when you want people, like, toxic people out from your life, in a way. No, but, yeah, it was crazy, and it was, like, scary in a way. I was a little bit nervous, though.

[Ana Maria Sayer]

I think what feels really important about it to me is kind of something that you touched on. Fofo is this idea of capturing a feeling. And that's something that I think across the board, the album did really successfully, to me, is it captured the feeling sonically, lyrically, tonally, of what it means to be Venezuelan, like, right now, in this moment. To me, it's an incredibly complex identity, experience, label, to be Venezuelan. And it's constantly evolving because of, like, what you said. Beto is like a continually, almost bizarre situation that impacts you all, and that means different things in different places. And one of those things, you know, touching on the song Querico, Puerto Rico. There are so many Venezuelans who live now in Puerto Rico, who have experienced Puerto Rico, who identify with Puerto Rico. So starting with that song, what was the inspiration there? Was there a particular Puerto Rican sound or musician that you felt especially connected to in the process of making that?

[Beto Montenegro]

Definitely, like, this is a very literal album. Like, in terms of songwriting, it's very straightforward. And the main inspiration about this album, in terms of songwriting, I feel, is the urban music. Like, Latin urban music became so big in pop culture, and in a way, we have been, like, in this alternative side of the industry that I really don't like that, because I don't want. I don't like when people label us in a way. So we decided to be influenced by these artists that have been making us dance through all these years. So you know how much I love Puerto Rico. It's the only country where I lived when I was a kid, is a place where we make a lot of our music. So in terms of Querigo, Puerto Rico, it was like making a song to Puerto Rico, playing with the reggaeton rhythm or the reggaeton vibe in A way we were kind of, like, trying to make it more minimal. And how do we make, like, this sexual thing that Puerto Rican music has? How do we mix that with culture and our Venezuelan version?

[Narrator/Announcer]

Like.

[Beto Montenegro]

Like culture mix sexuality in a way.

[Isabela Gomez Sarmiento]

One of the things that I really love about this album is how you guys sort of connect all of these different Caribbean cultures and sounds together, which I think you've done in your music for a long time. But on this project in particular, it's like you have this song for Puerto Rico and then you have a song like Amor de Contrabando, which has a very, like, Dominican meren house influence. You have Magic Juan on the track. What was sort of the thinking behind bringing that influence and that genre of music further down in the record?

[Fofo Stori]

It comes from a lot of places, I think, but also, I mean, Venezuela is right there with those. With those islands and those countries, and we are a lot alike. It's very easy to find common places with those countries. And for us, in our professional life, we've been very close in some ways to both RD and pr. That's a music Beto and I grew up on. When we were around 12, the actual urban pop music that was played in parties was a lot of New York's, you know, merengue house from rd, from the Dominican diaspora in New York. So that's been like, a theme in our houses. Like, our brothers and sisters grew up on that. And it was just so natural. So it's just a part of who we are today. Like, we've been doing this for a while also. So, yeah, it's. I think it's very natural for us. It's the way we have fun. It's the way we. We go about life.

[Ana Maria Sayer]

Is there a. A song on this album that you feel doesn't necessarily fit in with, like, your childhood? Like, what you're talking about a couple kind of growing up with sounds from RD or pr, but that fits into your experiences. Now that feels like it speaks to what it means to be Venezuelan, currently.

[Fofo Stori]

Well, for me personally, I don't think that there is, because even when we go to more of, like, the Anglo pop, R B type vibes, we also grew up on that. Like, Venezuela has always been like, a melting pot in that way. And Anglo music has always been around. And in our households also, like, we always got Michael Jackson and we always got Quincy Jones, and it's natural in that way. All the folklore also in Venezuela, even if you're not into it, you cannot get away from it. It's Everywhere. It's who we are. I think it's very representative of our universe. Even the Afrobeats, like all of Caribbean music is derivative from West Africa mostly. And we used to have, Beto and I, this debate about how do we fit in in our industry currently. And we always got to the conclusion that Afrobeat was a great vessel, like a great bridge between our world, like more alternative back then, and like the current population urban scene. So even that it's been part of our musical, you know, development for so long that it's so natural to have a forbidden album.

[Isabela Gomez Sarmiento]

I want to go back to this idea of the merengue house really quick and how you were talking Fofo about how it was so similar to the songs that you guys grew up with, because that's how it felt. Listening to the album, it was like getting an illegale song from the 90s, but now, like a modern version of it. I'm curious if there's particular songs from that era that you guys are really fond of or that you listened to a lot while you were making that particular collaboration with Marie Juan. Like, if there was a Proyecto Uno song or something from that genre that's like, very nostalgic of that part of growing up for you.

[Fofo Stori]

Yeah, a bunch. I mean, what are your faves? Beto?

[Beto Montenegro]

Ah, mine. Sandipapo. I was a huge Sandeepo fan. La Chica Sexy. ETI Huron from Proyecto Uno.

[Fofo Stori]

I was El Alacran team.

[Beto Montenegro]

El Alacran team. The thing is that there was like a big show, like a TV show, where all these artists used to come and perform when we were kids that come on, we were fans. I remember having all their CDs.

[Fofo Stori]

You know, to me, what's the most fun or interesting side of that world is that, you know, it was so mainstream back in Venezuela back in the day. But then growing up and having a career in music, you have a different perspective on it and start, like, digging it, how they came up with it and what was the context musically and culturally. You can really hear all those elements that were going on in the house scene from New York in it, and the way they used those type of samples and the 909s and the 808s, and it still feels like a Dominican jam. And that's kind of our life goal, you know, like, that's what Rabollano has always been about. Like, how do we take who we are and mix it with this other thing that we're really enjoying hearing and what's the personality that comes out of that.

[Ana Maria Sayer]

Okay, we have a lot more to get to with Beto and Fofo from Rabollana. We're going to take a quick break and we'll be.

[Beto Montenegro]

Uh huh.

[Isabela Gomez Sarmiento]

There is a lot of fear these.

[Fofo Stori]

Days that AI could be a bubble. So Nick, is it. I don't know, right? It is hard to tell, but there are some clues that economists say might kind of sort of help us predict bubbles on the Planet Money Podcast the Dark Art of Bubble Detection Listen on the NPR app or wherever you get your podcasts.

[Narrator/Announcer]

This message comes from Grammarly. From emails to reports and project proposals, it's hard to meet the demands of today's competing priorities without some help. Grammarly is the essential AI communication assistant that boosts your productivity at work so you can get more of what you need done faster. Just a few clicks can tailor your tone and writing so you come across exactly as you intend. Get time back to focus on your high impact work. Download Grammarly for [e-mail] podcast that's Grammarly.com podcast on NPR's wildcard podcast, comedian Tig.

[Fofo Stori]

Notaro it always makes me laugh when.

[Beto Montenegro]

People say she had her sense of humor to the end.

[Fofo Stori]

And I always thought it would be.

[Beto Montenegro]

So funny to put in my obituary that I lost my sense of humor in the end.

[Isabela Gomez Sarmiento]

Like watch or listen to that Wildcard.

[Fofo Stori]

Conversation on the NPR app or on YouTube @NPRWildcard.

[Isabela Gomez Sarmiento]

And we're back. Here's more of our conversation with Beto Montenegro and Fofo Stori of Rawayana.

[Beto Montenegro]

Mi the predator.

[Isabela Gomez Sarmiento]

You guys also talked about musicallanera, right? And there's that beautiful song Donada Porrega towards the end of the album. And you know, you mentioned like you've incorporated that folkloric sound into Rawliana's music before, but this feels a little bit different and it feels more straightforward both for how it sounds and what you're doing with your voice in that song. But also the lyrics of El Salto angel and this imagery of the country. How did you guys decide that that was a sound you really wanted to channel towards the end of an album like this?

[Beto Montenegro]

This album is very contradictory in so many sense. Like we play a lot with contrast in this album. Like you would not imagine like a country like Venezuela that is always conflict would have so much happiness. You know, like we are a happy country even though we, we are in this crazy situation since, since years ago. So in a way there was a moment in the process where I talked To Fofo mainly. And I said to him, like, it's okay that we are doing this, like, party album is that it's. It's what represent Rawayana's moment in a way. We've been partying a lot, we've been having fun, but also, like, we are heartbroken of all the situation. So tonada poreya is like, balancing a little bit that. And calm down a little bit and think about the important stuff. I think in the room, I was the one that I was trying to sell that a little bit more because it was like, okay, it's fine that we're partying. It's fine that we are talking about sensuality and sex and, you know, funny stuff. But also we feel this way. And I feel that the tonada genre is a. Is the perfect context to say what we said in that song.

[Isabela Gomez Sarmiento]

I think a lot of people listening might not actually be familiar with, like, what a donada is or like, that long legacy of music. I'm curious if you guys can talk just a little bit more about where that music comes from and sort of what aspect of Venezuelan culture it represents.

[Beto Montenegro]

Well, it's crazy because it's a calming music for cows to produce milk. So it's very interesting because you don't play that with a click with a metronome. It's like a very freestyle way to sing in the countryside of Venezuela.

[Fofo Stori]

It's sort of our jodelin, our version of yodeling, but I think ours is prettier. Sorry I said that.

[Isabela Gomez Sarmiento]

No, you're totally right. I'll say you're totally right.

[Fofo Stori]

Yeah. Also, I remember at some point there was definitely some debate, and to me it was more about the beat. Like, how does this fit? And ultimately we all agree with Beto. And I remember we on a sillier plane. We also thought, like, okay, if this is a house party, house parties are usually also longer parties. And there's all these different stages in the experience. So there's like the typical part where you're later on at night, you get a little bit philosophical and nostalgic. Like, it's very real that there's room for that in that type of context. So I remember also talking about that eventually when we had already made the decision to put it in.

[Isabela Gomez Sarmiento]

Yeah, it totally fits the pacing of the night, the party, and then maybe like in the morning when you're starting to get a little sentimental in your feels about stuff.

[Fofo Stori]

Yeah.

[Beto Montenegro]

And since we started, we have been doing, like, after parties like crazy. And lately I'VE been in this context of having this mix of random people all getting together. There's people connecting and talking about interesting stuff. That, for me, is so important in a party too.

[Ana Maria Sayer]

And what you keep describing, Beto, I mean, to dance and to be joyful and to also have conversations about hard things. Like you said, you're like, venezuela is a happy country. Whether that feels like it makes sense or not, it is. And that perfectly represents that.

[Beto Montenegro]

Definitely. We've been talking about the crazy thing that you find in places like Berlin. When you see Berlin history, you wouldn't imagine that now they are like this underground electronic place where you party like you party and. And when you study their history, it's kind of like, wow, this is so crazy. Like, dancing is a way to resist any situation in a way even that feels contradictory.

[Isabela Gomez Sarmiento]

So the album plays like an after party now. It's been out for almost a month, and there's just so much going on in Venezuela for Venezuelans everywhere. I'm curious just how you guys are feeling right now and how you're thinking about the future, both as a band and also just as people who are from Venezuela and are navigating this moment.

[Fofo Stori]

I mean, personally, I think we just grew this thick skin and it's been so long and we've been in historical history changing moments that many times that I think we were kind of prepared for everything this time. There are some elements of it that definitely feel a certain way. But also, very personally, with the thick skin, you also get this skepticism, you know, and you're still optimistic and hopeful, but also, you know, where to draw a line until what could actually happen actually happens. And, yeah, so that's. It's sort of a mixed feeling situation for me, and I'm just trying to, you know, continue trying to do the best I can from my position. And there's no way we are able to not have an eye looking that way. We're always aware of what's happening. But, yeah, it's a crazy time for us. It's a crazy time for the world also. Like, there's so much going on, so. Also, the way media works nowadays and the way information and narratives are manipulated also plays a big part in me trying to stay focused and not losing my shed over what's going on.

[Beto Montenegro]

I retweet everything that Fofo said and I would add, like, I feel like with this project, we don't have the answer of where is the after. But I definitely feel that we have to think about it. I feel like all these years in a way, because of our political context and because we are Venezuelans in a way. I don't know why myself. I've been living in the future all the time. So manifesting and working for all that we are achieving now and all what we are doing now, that sometimes I feel like it's important to ask ourselves, where are we going and study in the past? And I definitely believe that. I hope, and not only that, I hope I'm convinced that we have learned this lesson and that we are ready to design a better future for us as a generation. That's how I feel. That's why we are so optimistic with the album and with the ideas and with celebrating, thinking about the future.

[Ana Maria Sayer]

Come on.

[Fofo Stori]

We're going to.

[Ana Maria Sayer]

Beto Fofo, thank you so much for joining us today. It was lovely to chat.

[Fofo Stori]

Thank you guys again.

[Beto Montenegro]

Thank you, bro.

[Fofo Stori]

It's always a treat to talk to you.

[Isabela Gomez Sarmiento]

That was Beto Montenegro and Fofo Story of Rawayana. Their new album is Donde Este La After Isa.

[Ana Maria Sayer]

Thank you so much for joining me today. As always, no better person to talk about this with than you.

[Isabela Gomez Sarmiento]

Thank you for having me.

[Ana Maria Sayer]

You have been listening to Alt Latino. Our audio producer is Noah Caldwell.

[Isabela Gomez Sarmiento]

Surya Mohammed is executive producer of NPR Music.

[Ana Maria Sayer]

And the executive director of NPR Music is Sonali Mehta. I'm Ana Maria Sayer.

[Isabela Gomez Sarmiento]

And I'm Isabella Gomez Sarmiento.

[Ana Maria Sayer]

Thanks for listening.