Alt.Latino: Sofia Kourtesis, Lucrecia Dalt, more

Summary

All Songs Considered: Alt.Latino – Sofia Kourtesis, Lucrecia Dalt, More

Episode Release Date: August 6, 2025

NPR's flagship music discovery podcast, All Songs Considered, hosted by Felix Contreras and Ana Maria Sayer, delves into the vibrant world of Alt.Latino in this episode. The hosts explore the latest works of prominent Latin artists, offering deep insights into their musical journeys, influences, and the evolving landscape of Latin music.

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1. Exploring the Legacy of Harold López Nussa

The episode kicks off with Felix introducing Harold López Nussa, a pianist whose roots trace back to Havana. Alongside his brother Rui López Nussa on drums and Lucas Curtis on bass, Harold presents a rich blend of Cuban piano traditions intertwined with classical and Afro-Cuban influences.

Notable Discussion Points:

• Family Legacy: The track discussed was penned by Harold’s uncle, Hernan, highlighting the deep familial ties in his music. Harold shares, "This track was written by his uncle Hernan, very, very famous pianist in his own right" (02:11).

• Personal Connection: Integrating his grandfather's painting as the album cover, Harold emphasizes the enduring power of art, stating, "I realized once again the power that art has to endure beyond time" (02:45).

• Performance History: A reminder of Harold’s 2018 Tiny Desk Concert emphasizes his longstanding presence in the jazz scene.

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2. Sofia Kourtesis: Bridging Peruvian Roots with Global Sounds

Ana Maria introduces Sofia Kourtesis and her new EP, Volver. Sofia, a Peruvian artist based in Germany, masterfully balances her vibrant Peruvian heritage with the disciplined rhythms of German music scenes.

Notable Discussion Points:

• Cultural Dichotomy: Ana Maria explains, "She really does this incredible job of representing not only sonically, both places, because you can really hear it all over" (05:13).

• Emotional Depth: Reflecting on Sofia’s Madres album, Ana Maria notes the brightness in her sound as a response to personal hardships, "she tries to seek joy in these darker times" (06:00).

• Featured Track – "Canela Pura": The collaboration with percussionist Miguel Bayumbrosio showcases a blend of traditional Zapateo rhythms with modern dance elements, preserving Afro-Peruvian and Afro-Andean musical heritage.

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3. Lucrecia Dalt: Revolutionizing Vocal Expression

Felix shifts the focus to Lucrecia Dalt, a Colombian vocalist known for her experimental approach to music.

Notable Discussion Points:

• Vocal as Instrument: Felix states, "Lucretia Dalt falls into that category [of vocalists] with people like Lido... making the voice sound like a whole choir" (10:13).

• Collaborations and Influences: Lucrecia's work with Juana Molina and Camille Mandoki highlights her innovative methods of vocal layering and manipulation.

• Upcoming Album – A Danger to Ourselves: Featuring tracks like "Gaes" and "Kosara" with David Sylvian, the album promises avant-garde, spacey, and improvisational sounds that push genre boundaries.

Ana Maria adds, "It's really fascinating... the way that these artists use their voice and manipulate it and double track it and triple track it and make it just sound like a whole choir" (12:04).

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4. Paula Prieto and Good to Know: A Fusion of Voices

Ana Maria brings attention to Paula Prieto, an Argentine singer, and her collaboration with Chilean artist Benjamin Walker to form the group Good to Know.

Notable Discussion Points:

• Spontaneous Collaboration: The duo’s 48-hour studio session resulted in the Good to Know EP, Good to Know, featuring the heartfelt track "October".

• Bilingual Expressiveness: Paula’s ability to switch seamlessly between Spanish and English adds depth to their music, with Ana Maria highlighting the "richness" of her Spanish vocals and the unique qualities of her English performances (20:15).

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5. Gabriel Alegría: Celebrating Afro-Peruvian Heritage through Jazz

Felix introduces Gabriel Alegría, a trumpeter dedicated to spreading Afro-Peruvian music fused with jazz.

Notable Discussion Points:

• New Album – El Mooki: Released on August 15th, this album represents Alegría’s matured musical vision after relocating back to Lima, allowing him to tap into Peru's current musical pulse (24:32).

• Collaborative Synergy: The inclusion of saxophonist Laura Andrea Legia, whose compositions meditate on birth and artistic rebirth, adds a profound layer to the album.

Felix remarks, "This album is the most crystallized version of what that musical vision is for the entire band" (25:30).

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6. Shifts in Regional Mexican Music: Nathan Elcano and Gabito Ballesteros

The latter part of the episode delves into significant changes within Regional Mexican Music, focusing on artists Nathan Elcano and Gabito Ballesteros.

Notable Discussion Points:

• Evolution of Corridos Tumbados: Nathan Elcano, hailed as the father of this genre, released "Porque la Demora," marking a departure from traditional narco corridos to incorporate elements like trap and reggaeton (29:10).

• Industry Pressures: The hosts discuss potential external pressures, including government crackdowns and visa issues, influencing artists to diversify their musical styles. Felix notes, "It's complicated... sonically, the production, everything is just so different" (30:02).

• Impact on Artistry: The shift raises questions about the future of the genre and the resilience of artists amidst socio-political challenges, with Ana Maria pondering, "What happens to the art?" (32:49).

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Conclusion

This episode of All Songs Considered offers a comprehensive exploration of contemporary Latin music, highlighting how artists like Sofia Kourtesis, Lucrecia Dalt, Paula Prieto, and Gabriel Alegría are redefining genres and blending cultural influences. Additionally, the discussion on Regional Mexican Music underscores the dynamic interplay between artistry and external pressures, painting a vivid picture of the current and future state of Latin music.

Notable Quotes:

• Felix Contreras on Harold López Nussa: "This track was written by his uncle Hernan, very, very famous pianist in his own right" (02:11).
• Ana Maria Sayer on Sofia Kourtesis: "She tries to seek joy in these darker times" (06:00).
• Felix Contreras on Lucrecia Dalt: "Lucretia Dalt falls into that category with people like Lido... making the voice sound like a whole choir" (10:13).
• Ana Maria Sayer on bilingual expressiveness: "There's something about the richness to what she has in Spanish" (20:15).
• Felix Contreras on Gabriel Alegría’s album: "This album is the most crystallized version of what that musical vision is for the entire band" (25:30).
• Ana Maria Sayer on the future of corridos tumbados: "What happens to the art?" (32:49).

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Produced by Noah Caldwell | Executive Producer: Soraya Muhammad

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Note: Advertisements and sponsor messages from Amazon One Medical, Indeed, Progressive Insurance, Bluehost, Warby Parker, Viori, and Mint Mobile have been excluded from this summary.

Transcript

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[Felix Contreras]

From NPR Music, this is Aunt Latino. I'm Felix Contreras.

[Ana Maria Sayer]

And I'm Ana Maria Sayer. Let the chisme begin.

[Felix Contreras]

Okay, the chisme this week is new music. Got a ton of stuff, and as usual, it's from all over the place. And I, since I wrote the script, I wrote myself going first, so there.

[Ana Maria Sayer]

Wow. I actually like this better. I like to be the closer. You can start.

[Felix Contreras]

Okay. I wrote some jazz. Surprise, surprise.

[Ana Maria Sayer]

I don't even react anymore, Felix.

[Felix Contreras]

Well, I'm glad because then you're being.

[Ana Maria Sayer]

I'm being indoctrinated.

[Felix Contreras]

Yeah. You're being introduced.

[Ana Maria Sayer]

Jazz, jazz, jazz, jazz.

[Felix Contreras]

Not indoctrinated. Sound like a punishment. This is another chapter in the adventure of pianist Harold Lopez Nusa. He is originally from Havana. He's based here in the United States now with his brother Rui Lopez Nuza on drums and Lucas Curtis on bass. This is Nina Conveolin, and there's a very, very cool story behind this track, but let's hear the music.

[Sam]

Sam.

[Felix Contreras]

So Harold Lopez Nusa comes from two traditions, the Cuban piano, which goes back to really to the turn of the 20th century when piano was used to interpret and define Cuban music with classical music and Afro Cuban traditions and from the Lopez Nusa tradition or legacy, because their family has generations of amazingly talented and respected musicians from Havana. This track was written by his uncle Hernan, very, very famous pianist in his own right. He wrote it for a friend of the family in Havana who was a young violinist. Harold heard it often throughout his childhood and as he studied music, but he never played it until he decided to do it on this album. And then Harold played it with his daughter, who is also a young violinist, in front of his uncle. And now, Harold says the song now is part of the family legacy. And then there's another family connection because the COVID of the album is a painting by Harold's grandfather, a painter. And the material released with the single, he says, I realized once again the power that art has to endure beyond time. And having his art on the COVID of the album brings me closer to my family, to those childhood memories and makes me feel more accompanied. So it's the again, it's the power of jazz to cut through all these, all these different things and become so personal and such A reflection of who he is and who his family is in this case. And very quickly, a reminder that Harold Lupe Nusa played a Tiny Desk concert in December of 2018 with his brother Rui on drums. The track is called Ninha Convio Ling. The artist is Harold Lopez Nuza.

[Ana Maria Sayer]

Okay, so only a slight shift from everything that you just said. I'm going to play you a song off of Sofia Cortes's new ep, Volver. This track is called Canela Pura.

[Sam]

I.

[Felix Contreras]

Whiplash Time.

[Ana Maria Sayer]

Very abnormal for us. We're usually quite consistent. If you'll remember, Felix, or maybe you won't remember, and I will remind you, I covered her debut album in 2023 called Madres. We had it on our favorite Music of 2023 episode. Do you remember that?

[Felix Contreras]

Yes, of course I do.

[Ana Maria Sayer]

And one of the things I love about her, she's a Peruvian artist who moved to Germany when she was still a teenager, is that she really does this incredible job of representing not only sonically, both places, because you can really hear it all over. She more so represents, like, the dichotomy of the two places that she's from. She often has said in interviews that her heart is Peruvian, loud, passionate, all over the place, but that her motor is just German. This is, funnily enough, something I've actually heard from a lot of Latinos who have immigrated. I don't know why. I have a ton of friends who have lived in Germany who are Latinos, a lot of them from Venezuela, and they say similar things. There's like, something about the way that spending time in Germany, spending time with the music in Germany specifically, kind of shapes and forms their own identities, their chaos, into something different, especially with the dance scene there. So this last album that she did, Madres, was focused on her mom. It was kind of a dedication to a surgeon who actually saved her life. And there's so much brightness and color to her sound always. And a lot of that, I think, is based in this idea that she's been through these hard things with her mom with this illness, and she tries to seek joy in these darker times. So she kind of leverages both of her homes and her roots to allow her to do that. I want to play you another track that I think you're really going to like, Felix. It's called.

[Felix Contreras]

It's another instance of music that's obviously designed for the club to get people moving out there. But I really like the way that they dropped in the. The traditional music and the singing over that. And it didn't really lose the cadence of the tradition because of the way that it's. It's. It's mixed and the speed. It was effective. I liked it.

[Ana Maria Sayer]

That vocal that you're hearing. His name is Miguel Bayumbrosio, which. He's a percussionist and Zapateo dancer, which is basically a type of foot percussion from Chincha, Peru. Much of his music and his career has been dedicated to the preservation and promotion of Afro Peruvian and Afro Andean music. So to me, Sophia, in many ways, it's like the thoughtfulness around how she composes her music that has always consistently, across the board, since I first started listening to her a few years ago, really been the key to what makes her music work so well. And that, to me, like, this song in the middle of the EP was just such a clean cut, clear example of how she does that so well. That was Canelapura and Bayoum Brocio from Sofia Curtes new ep, Volbert. Okay, Felix, now top that.

[Felix Contreras]

Okay, we're going to move from Peru to Colombia. And this is an artist that was Featured on our 2022 Best Albums of the Year. And that show featured you and Stephanie Fernandez and Julissa Lopez. I wasn't in that show, but somebody brought this artist named Lucretia Dalt. I've been a fan ever since. She's a fascinating vocalist. She really stretches the genre boundaries in ways that you and I both enjoy a lot of. This is a single from an album that's coming out in September. The album's called A Danger to Ourselves, and this track is called Gaes.

[Sam]

Sam.

[Felix Contreras]

Okay. So we always say, you know, that the voice is. Is another instrument. And when you're talking about somebody doing a lead vocal and. And in the grand tradition of somebody like Ella Fitzgerald or, you know, people like that or even pop singers when they're using it as an elite vocal, it's an instrument, but in. There are certain vocalists that we've discovered over the years here that when they start layering the vocals in multiple tracks and then manipulating the sound of the voice with reverb or with whatever electronic device, then it becomes more like, to me, like an instrument. And Lucretia Dalt falls into that category with people like Lido. Pimenta does that a lot.

[Ana Maria Sayer]

I was about to bring up Lido.

[Felix Contreras]

Yeah, she does that a lot.

[Ana Maria Sayer]

Honestly, though, vocally, kind of more in the. Like, the percussion, to me, even though it's different because Lido's a lot more sparse. Yeah. And also grandiose at the same time. But there's something about the intensity, I was going to say. Vocally, it's almost a slight Rita Indiana nod to me. Or like a Rubio. Yes, yes, is what it really felt like.

[Felix Contreras]

I mean, there's so many because we've been able to cover them over the years. So many vocalists like that. She has collaborated with Juana Molina from Argentina, who's definitely. She's like, you know, the madrina of doing that. Right. On this album. She's also working with an artist I didn't know, Mexican sound artist Camille Mandoki, who's basically doing a lot of the same work because I. I went down a rabbit hole of listening to her music as well. So, like, yeah, I'm just super, super excited, as you can tell, about the way that these. These artists use their voice and manipulate it and double track it and triple track it and make it just sound like a whole choir to create just this incredible instrument.

[Ana Maria Sayer]

Well, and it's also really cool because that's such a common practice now. Like, a lot of the artists that you'll see topping the charts, like, they're hypothetically using tuning, using vocal effects as an instrument. Like, look at Belle, who I've brought on a couple times, who's now one of the top Latin artists in the world. He's been training with Autotune since he was like a teenager. Like a young teenager, I think, like 13, 14, something like that. And he's actually mastered the art of manipulating his vocals to like create a whole other instrumental effect. But I think these women who stay one so close to the percussion of where they're from to kind of like fortify or like create this basis, like what we're talking about with Alito or even like a Rubio or Rita or all these people, Juana Molina, like, they take that, like the intensity and then they use very artfully and very specifically the voice as like in conjunction with those sounds, as opposed to like its own independent instrument that exists in this other sphere. It's really fascinating to me and it's.

[Felix Contreras]

Within the structure of a non pop tradition. This stuff that I've heard from Lucretia Dalt's upcoming record that she has out so far as singles. Oh, my God. It's just so, I don't know, avant garde, spacey, different, experimental, improvisational. I want to play a little bit more. You always play more than one to sneak one into this time.

[Ana Maria Sayer]

I'm playing like 20 today, Felix, so get your songs in.

[Felix Contreras]

This is a thing called Kosara and this is with the English musician David Sylvian. Check it out.

[Sam]

Asiento Cinque.

[Felix Contreras]

So I wanted to play that one because it has a little bit more structure, a little bit more beat. The other one was a lot more floaty spacey, which has its own beauty and charm. Again, the artist is called Lucretia Dalt. Her album coming out September 5th is called a Danger to Ourselves. We heard the tracks Calles and Costa Rada. I think it's time to take a break. We should take a break. We should take catch ourselves, center ourselves. Let's start taking a break right now.

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[Felix Contreras]

Oh, I'm sorry. I was still taking a break. Sorry. I was like centering myself. We're back.

[Ana Maria Sayer]

You were too focused on meditating, Felix.

[Felix Contreras]

All right, your turn.

[Ana Maria Sayer]

Okay. Oh, this one's fun. I forgot I had this. Okay, so remember when I dragged you to see that Argentine singer, Paola Prieto?

[Felix Contreras]

Yes.

[Ana Maria Sayer]

And I was obsessed with her. I was like, I'm dying to see this girl. We went to that bar.

[Felix Contreras]

Yeah. And we were in Spain. What? What city?

[Ana Maria Sayer]

In Bilbao.

[Felix Contreras]

Bilb. That's right.

[Ana Maria Sayer]

Importantly. So I'm obsessed with her. Before I get into this new project. I want to play you just as a reminder for you and for everyone. And also cuz I love this song. This is Paula Prieta's song Mar.

[Sam]

Sila.

[Ana Maria Sayer]

Okay, so that's an old single that I just needed an excuse to play. She's only released a lot of singles. She has one compilation album and she went to Mexico to work on some more music back in November and she texted Benjamin Walker, which if you'll remember, I also have brought on music from him, beautiful Chilean artist. And she was like, hey, Benja, it's Saturday. On Monday I have one slot at this kind of very well known studio. What if you just come? I have nothing figured out. I have nothing that I really need to work on. Let's just go and play and jam for the day. 48 hours later, they left the studio. Benja invited Sir Hope to come to the studio as well. And they had this entire ep, five song EP that they're now going to tour in Europe with the group that they have now formed, quote unquote. For this EP is called Good to Know. And I want to play you one of their tracks. It's called October.

[Sam]

How it shows with you and if you really want to know Tonight I wish to get to bed and if you really want to know why it's cuz that's where I could dream all night Dream all night that I was with you I don't know if I can hold over till October Till I get over I don't know if I can hold over till October Till I you Till I get over you Will I ever get over you?

[Ana Maria Sayer]

So I love their combo vocally, he kind of sneaks in on some of the harmonies there. Production wise. Stylistically it's very Benja, but melody very Paola. I love when two artists like this come together. But the most fascinating thing to me, honestly, Felix, is the way, and I've talked about this before, the way that people really vocally transform when they switch languages. I'm a huge fan of her in Spanish. Like, I think I love this and I do think I prefer the Spanish vocal. I just. There's something about the richness to what she has in Spanish. And yet, like, there's a different part of her represented in the English that is also unique, that's also special, that's also different. And I want to play one other song. It's my favorite on the EP because it's like slow and sad. But it's called I'll Stay. And to me, her English vocal is about as close to her Spanish vocal as she gets.

[Sam]

There's something in your eyes Please Something in the way you write to me tonight Makes me feel unsafe Makes me feel like pain Is creeping around your corner Trying to make its way don't you worry oh, stay oh, stay Just tonight, just today.

[Felix Contreras]

Pretty amazing what they could come up with. Just like on the fly. Let's get together and see what we come up with.

[Ana Maria Sayer]

48 hours. You can't recreate it, you know? Yeah, sometimes it just works. That was Mareas by Paula Prieto and October and I'll Stay by. Good to know.

[Felix Contreras]

Okay, we aligned again. Once again, Telepathy Felix, because the last track I have is from trumpeter Gabriel alegria. And since 2005, he has been spreading the world of Afro Peruvian music, in this case mixed with jazz and much more. There's a new album coming out on August 15th. It's called El Mooki. This is the Gabrielle Alegria Afro Peruvian Sextet. This track is called Panave. You know, he has seven albums, and I've been a fan of his almost from the beginning. I think it was 2005 or so. And you can chart the progress that he's had in starting with a basic idea, like wanting to feature Peruvian folk music, as we talked about earlier in the show, and then, like, just expanding the concept in a completely different way. I just love the fact that you brought in this artist who was doing something for the club Da Club, Right. And this band is, like, taking it out to jazz clubs and festivals and stuff all around the world, but all coming from the same spot. And after 20 years here in the United States, he's relocated back to Lima. And in a statement that came with the record, he says, being back in Peru has allowed me to tap into the country's musical pulse in a way that he couldn't before. Like I said, I've been a big fan of his from the beginning, and I love what he's been doing. And I'm going to say that this is a high watermark for him because I think that this album is the most crystallized version of what that musical vision is for the entire band. And it's important to note the contribution of Laura Andrea Legia, who's a saxophonist, composer. She has a very big role on this record, and she recently became a mom. And so her compositions are meditations on birth and artistic rebirth. So all of that together makes for this really, really fascinating, great album. The album is called El Mooki, and it's by the Gabrielle Alegria Afro. Peruvian. Sex. Tat. Go. Take us home. Take us home.

[Ana Maria Sayer]

Okay, are you ready for the update? The dissertation, Felix. Here we go.

[Felix Contreras]

I see.

[Ana Maria Sayer]

I haven't talked. I haven't given an update in a minute on musica mexicana, regional Mexican music. And I figured now is as good a time as ever because Nathan Elcano dropped an album earlier this month. I did not get a chance to listen to it till recently. And I was beyond shocked. To remind everyone, before I get into it, this man is the father of corridos tumbados. Like, he is, hypothetically, the person that people credit with creating the genre, specifically, quite famous, honestly, for his narco corridos. I want to play you a little bit of a single he released last year called Presidente. So that song, which, like I said, was released last year in 2024, was an homage to Juan Carlos Valencia Gonzalez, the leader of one of the most powerful cartel hotels in Mexico, Nueva Generacion, which is from Jalisco. It has come to be one of his biggest songs ever, approaching half a billion listens. Felix, like, this man is really known for his narco corridos. Now I want you to hear a song off of his new album. It's called Porque la Demora. And this song is called Now Felix. I listened to this album multiple times through. There is trap, rap, hip hop, reggaeton. What there is none of is or even corridos punto. Now, in a lot of interviews, he's talked about the fact that he just wanted to expand as an artist. He was feeling uninspired, all of these types of things. But what we can't forget about the backdrop of what's happening in this moment, which we've talked about a little bit, is the fact that there is a crackdown on narco corridos from all sides right now, from the US government, from the Mexican government, from the narcos themselves. And I don't know that it's a coincidence, Felix. Like, I'm not totally convinced because earlier this year, Gabito Ballesteros, who was also on the track Presidente with Nata, released his own new album, which had full love songs. Check out this song from his album, Yano Seguevan Serenatas, called Regalo de Dios.

[Felix Contreras]

So you're saying that these are not homages to cartel, not narco corridos? Wow.

[Ana Maria Sayer]

No, full. Like Serenata. His claim when he released the record was like, ah, serenatas, whatever. I want to do all these really slow, beautiful love songs. Maybe true. A lot of people speculated at the time when he released his album, they were like, he's been having issues getting visas. The Mexican government is cracking down on people singing these songs. Maybe he just didn't want to deal with it and went a different route. Napa, specifically, has come under a lot of heat recently because just. Just a couple weeks ago, his US visa was actually revoked, and it's alleged that that was because he was pretending to be singing religious music in order to get the visa. The point is, Nata is literally the founder of the genre. And if his latest album, like many others now who are stepping in line with this, is not narco corridos, it does beg the question of whether there's more at play here than just, oh, I'm tired of singing this music, and I want to do something else. What has been said to me again and again and again by a lot of people in the music industry is above anything else. What makes artists money is getting butts in seats. And if you can't get visas and if the Mexican government isn't letting you play, you just can't do that. It's interesting because Nata is one of these people who has also been extremely outspoken about not backing down, continuing to play this type of music. In a show in Aguascalientes recently, he said, with all due respect, we came here to Aguascalientes to sing for you, my friend. And with all due respect to the people who are prohibiting us from singing and showcasing our art, we don't give a damn. I don't know if that's true.

[Felix Contreras]

So complicated, man. You know, there's so many layers, so many different things about it. And ultimately, I mean, I like the music that I heard. I like the reimagining of the traditional sound and the way that the music has progressed and still maintaining some of the essence. But, like, sonically, the production, everything is just so different. And I, you know, me personally, it's. It's a break not to hear the songs glorifying the narcos. Yeah, don't come after me, narcos. But it's.

[Ana Maria Sayer]

It's complicated. It's complicated.

[Felix Contreras]

It's. It's. The hearing something different lyrically is a relief.

[Ana Maria Sayer]

I think that it's an interesting thing to me because everyone's question when this music started to explode was, oh, is it going to last? Is this is kind of a niche sound? Is this really going to work for people? The subject matter, obviously, is intense and different. Is that going to work for people? But it might just be that actually governments and narcos as well, cracking down or applying pressure to these artists who are young and have made it and have gotten to a point where they want to keep being successful and making music and singing in places, maybe it's just going to be that that's the thing that changes the music itself, which is an interesting place to see the change be coming from.

[Felix Contreras]

That begs the question, what happens to the art?

[Ana Maria Sayer]

Exactly. That was Presente en el Juez by Nathaniel Cano and Regalo de Dios by Gabito by Esteros and Karine Leon.

[Felix Contreras]

You have been listening to O Latino from NPR Music. Our audio producer is Noah Caldwell.

[Ana Maria Sayer]

The executive producer of NPR Music is Soraya Muhammad.

[Felix Contreras]

I'm Felix Contreras.

[Ana Maria Sayer]

And I'm Ana Maria Sayer. Thanks for listening.

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