Pabllo Vittar: 111 | 4ZZZ Brisbane 102.1FM

- Possibly, when the music history of the 2020s is written, there should be a central chapter on how, finally, the dominant cisgender, heteronormative, white European descent musical paradigm was irreparably shaken apart by various artists who came from almost none of those standard musical backgrounds. National and sub-national groupings which once had no reach outside their own backyard, people of colour who rarely got the chance to represent their own culture and influences, and as for artists who were openly diverse in gender and/or sexuality? Forget it. Now those who were once on the margins are storming into the centre of attention.

Pabllo Vittar is at face-value a Brazilian drag queen, but she is much more than that. Like Australia’s Courtney Act or Austria’s Conchita Wurst, Vittar is a performer with a solid history in both the recording studio, on television and the club or concert stage. Possessing an impressive, natural counter-tenor voice with at least a two-octave extension, Vittar has released two full length albums prior to 111. About half this album first appeared as an EP last year and the variety that was there is still in evidence on the longer release.

Up front, the new record won’t float everyone’s boat because Vittar isn’t constrained by exploring just one musical style. Part of the gift of being Brazilian is not only does she sing in three different languages – Portuguese, Spanish, and English – but introduces the world to some of the region's musical styles, which for many would be totally unknown. The album kicks off with a party – a birthday party. Parabéns is an outrageous, hip-swivelling opener supported by the ‘Axe Music’ style band Psirico that slides into a duet with Mexican singer Thalia on Timida and has a sultry, enticing swing to it that drops you into a world that many thought only Shakira inhabited. The third track dips into even more risqué territory, featuring a reggae vibe underscoring a guest vocal from Brazilian star Ivete Sangalo inviting the listener to make love the way you desire -make love at the beach, in Rio de Janeiro, with a friend or even threesome (!)

If that wasn’t enough to raise the temperature of the listener, song four Amor De Que (Slut Love) features another of Brazil’s popular music genres from Brega, the region where Vittar comes from in the north-east of the country. Lyrically it’s all about having your cake and eating it – and the rest of the dessert buffet – too. Salvaje follows, treading along a style that in the '80s you would have expected to hear Sade crooning but with some 21st century production tricks to spice up things as Vittar sings in both Spanish and English.

The rest of the album breaks into more contemporary territory, with the most well-known cut, the very chart friendly Flash Pose with the ubiquitous Charli XCX tossing more than a handful of relevancy pixie dust into the mix. Clima Quente with Jerry Smith is a bit of a throwaway that seems to have been produced by the Energiser Bunny, and the penultimate track Ponte Perra is a mishmash of sounds, samples and that same hyperactive production. 111 closes with a dance floor thumper come literal storm Rajadão which after the two tracks that precede it leaves the listener well short of breath. And that’s another thing about 111 – it’s short, none of the tracks lasts longer than three minutes, most fall around the two and a half minute mark, so if you aren’t getting into it you know it will be over soon.

Vittar’s style is to be outrageous, loud, but not slap-dash. Sure it’s a mixture of styles but it brings Brazilian and other Latinx styles into mainstream popular music, and when you hear Madonna bower-birding that area (as she did on Madame X) you know it’s a very “here & now” on-trend place to be. (Finally, I’d like acknowledge Paulo da Costa, Brazilian born & raised broadcasting colleague at 4ZZZ for his invaluable insights into the music Pabllo Vittar has unveiled on 111. Obrigado, cara!)

- Blair Martin.
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