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

Episode Date: January 21, 2026

Sometimes life imitates art - or at least the two can seem eerily connected. On Jan. 1, the Venezuelan band Rawayana released a new album, '¿Dónde Es El After?,' which began with a lyric that many interpreted as a wish for their country's leadership to be gone. A few days later, Venezuelan President Nicolás Maduro was ousted from power and seized by American forces. For this week's episode, we chat with Fofo Story and Beto Montenegro of Rawayana to hear how the album came together, where its sonic influences lie, and how they're reflecting on the seismic changes underway in their home country.(00:00) Intro(01:54) How they decided to open the album(06:26) On the song 'Qué Rico PR!'(09:36) Caribbean influences growing up(13:41) Childhood love for merenhouse(16:13) Adapting tonada folk music(21:58) Reflections on Venezuela in this momentThis podcast episode was produced by Noah Caldwell. The executive producer of NPR Music is Suraya Mohamed.See pcm.adswizz.com for information about our collection and use of personal data for sponsorship and to manage your podcast sponsorship preferences.NPR Privacy Policy

A quick note before the show, this podcast contains explicit language. From NPR Music, this is Alt Latino. I'm Anna Maria Sayer. Felix is sadly once again away this week, but never fear. I have my amazing, wonderful colleague Isabella Gomez Armino on the mic with me. Hello, Issa. Olis, olis. Thank you for coming and saving me once again.

Thank you for having me. Anytime. Okay, so on January 1st, something a little bit crazy happened. The Venezuelan ban Rawayana, which we've talked about, a lot of. lot on the show, released an album that started with a line that felt like it predicted perhaps one of the biggest global stories of the year. So to translate briefly, the song is basically saying, Rawa 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 U.S. forces and is currently in custody in New York City. 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 is a laughter from Raguayana, 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. And to help us go deeper into that album

and what it means for this moment, we spoke to two of Rawa Janna's members, Fofo Story 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. Well, I remember it was later in the process of the album. We were kind of wrapping up the album. By then, we were in Puerto Rico,

and Beto 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 like 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? 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 tamborees. Yeah, it's a big burst of energy to start the album. And obviously, Fofu, like you were saying, there's like a double meaning in the music. 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 U.S. I'm curious how you guys reacted to not just the news, but to the album sort of predicting that something that big was going to happen so early in the year. 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, like, 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.

Like, 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 intro and our song and our album. You know, it was, it's so not about us. I don't know. How do you feel about it, Beto? 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 like the release party in Madrid. So then the second thing. day and everyone was calling, calling on it. And I saw all the videos, like, everybody dancing to a song. So in my mind was like, oh my God, we're going to end up in jail. This is getting so crazy. But yeah, no, definitely. That's what I thought. It was like, like, wow, this is so crazy that is 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 political, it's not just for one side, you know, everyone feels that in a way when when you want people, like, toxic people out from your, from your life in a way, no? But yeah, it was very, it was crazy and it was like scary in a way. I was a little bit nervous, though. 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, it's 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, Que Rico Puerto Rico. There are so many Venezuelansuelans who live now in 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? 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 it's the urban music.

Like, Latin urban music became so big in pop culture. And in a way, we have, 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 decide 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 live when I was a kid. It's a place where we make a lot of our music. So in terms of Que Rico 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? Like culture mix sexuality in a way.

more rich, how so I eat the R. A me, I'm I love, me fascina, and she's, me know with who's in the bocina, and me pete, that's part, that's, that part,

that, that's, that, waccata, the part, that, that, quack, that, that fata,

the part, the yoreen, live in the malandreo, the one of the whin'awin' always in a freseo, but all's put in be bellaquita

with Joel and Randy in the choleiceo, as I'm a perreo, and if it's with you, that I create. Baby, no, la chocha, in the c'ul and the nests, oh, there's a hanguea.

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,

Merene House, influence, you have Magi Juan on the track. What was sort of the thinking behind further down in the record? It comes from a lot of places, I think, but also, I mean, Venezuela is right there 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 R.D. and PR. That's the music Beto and I grew up on. Like, when we were around 12, the actual urban pop music that was played in parties was a lot of New York's 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, I think it's very natural for us. It's the way we have fun.

It's the way we go about life. A song. on this album that you feel doesn't necessarily fit in with like your childhood, like what you're talking about, like about kind of growing up with sounds from R.D. or PR. But that fits into your experiences now, that feels like it speaks to what it means to be Venezuelan currently. 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 Afrobits, 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 Afrobit was a great vessel, like a great bridge between our world, like more alternative back then and like, the current pop 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 forbidding the album. I want to go back to this idea of the Meringa House really quick and how you were talking Foufo 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 listen to a lot while you were making that particular collaboration with Madia Kwan. Like if there was a Project Uno song or something from that genre that's like very nostalgic of that part of growing up for you. Yeah, a bunch.

I mean, what are your faiths, Beto? Oh, mine, Sandy Papo. I was a huge Sandy Papo fan. The Chica sexy. A Tiburon from Projecto Uno. I was a lacrant 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, like we were fans.

I remember having all their CDs, 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 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 use 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 Ravoyana 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. Okay, we have a lot more to get to with Beto and Fofo from Ravoyana. We're going to take a quick break and we'll be right back. And we're back. Here's more of our conversation with Beto Montenegro and Fofo story of Ravayana. You guys also talked about musicaenaera, right? And there's that beautiful song Donata.

towards the end of the album. And you mentioned, like, you've incorporated that folkloric sound into Raoyana'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 Santo 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? 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 in a conflict would have so much happiness, you know? Like we are a happy country, even though we are in this crazy situation 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.

It's what represents Ravayana'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 Tonad For Ella 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 detonada, genre is the perfect context to say what we said in that song. I think a lot of people listening might not actually be familiar with what a tonada is, or like that long legacy of musica genera. 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. Well, it's crazy because it's a calming music for cows to produce milk.

So it's like, it's very interesting because you don't play that with a clique with a metronomo. It's like a very freestyle way to sing in the countryside of Venezuela. It's sort of our jodling, our version of jodling. But I think ours is pretty. Sorry, I said that. No, you're totally right. Like la janera in the conversation, I'll say you're totally right. Yeah.

Also, I remember at some point there was definitely some debate. And to me it was more about the debate. beat, like, how does this fit? And ultimately, we all agree with Beto. And I remember we, on a sillier plane, we, we also thought, like, okay, if this is a house party, like, house parties are usually also longer parties. And there's, like, 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, 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. 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. Yeah. 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. 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. Definitely. We've been talking about the crazy thing that you find in places like Berlin, when you see like Berlin history, you wouldn't imagine that now they are like this underground electronic place where you party like you party. 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. 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 Venice.

Venezuela and are navigating this moment. 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're kind of prepared for everything. This time there's some elements of it that definitely feel a certain way. But also, very personally, with the thick skin, you also also, you also, get this skepticism, you know, and you're still optimistic and helpful, 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, 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, you know, manipulated. Also plays a big part in me trying to stay focused. and not like losing my shed over what's going on.

I retweet everything that Fofos said and I would add like, I feel like with this project, we don't have the answer of where is the actor, 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, I'm 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 studying the past? And I definitely believe that I hope, and not only that I hope, I am 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. Beto, Fofo, thank you so much. for joining us today. It was lovely to chat. Thank you guys again. It's always a treat to talk to you. That was Beto Montenegro and Fofo Story of Rawayana.

Their new album is Donde Isle After. Issa, thank you so much for joining me today, as always. No better person to talk about this with any. Thank you for having me. You have been listening to Alt Latino. Our audio producer is Noah Caldwell. Saria Mohammed is executive producer of NPR music. And the executive director of NPR music is Sonali Meta.

I'm Anna Maria Seyer. And I'm Isabella Gomez-Harmiento. Thanks for listening.