Down to Brazil for some downtown funk…
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[6.57]Danilo Bortoli: Brazil is experiencing an interesting period in pop music. Sertanejo is currently on a downslide as the reigning genre in popular radios across the country, and a reshaped, more commercial than ever, harmless version of funk carioca is on the rise. Anitta is in charge of this small revolution, restyling Rio de Janeiro’s funk to, according to some purists, unsettling effects. Somewhere along the way she has been accused of cultural appropriation, as there is certainly some gentrification to be found in her new, more polished funk sound. Meanwhile, in São Paulo, MC Guimê is turning Rio de Janeiro’s sound upside down; the periphery’s musical voice is detached from its original meaning. Replacing it is ostentation. “No Meu Talento” is the sonic equivalent of this encounter: São Paulo, along with funk’s newfound love for showing off material goods, and Rio de Janeiro, possessing what’s left of its original sexiness. On paper, as a symbol for funk carioca’s dominance in popular culture, it wasn’t supposed to work — it’s just too obvious — but Anitta’s presence, as a whole, makes the song more like a testament to
early-aughts sugar-coated pop. Funk is just a means to an end; sonically, the spirit is long gone. MC Guimê’s delivery is weak, almost dispensable, but he’s the one connecting the dots between Anitta and her alleged true origins which show up at times as a way to remember us that she still hasn’t forgotten about funk. This makes it a source of gimmickry — the usual rhythms, the ones Diplo has appropriated, are the only thing that connects this song to funk. Dealing with this contradiction is an enviable thing to be able to do in pop these days: remain true to yourself while wielding your influences in a way that leads to progression. Which is to say, Anitta has mastered the art of walking the line between funk and a poppier sound, which is starting to sound a lot like her future.
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Katherine St Asaph: Reminders of Circus-era Britney — not just because you can sing the words “If U Got Amy” over it (if you would ever want to do such a thing), but in the Max Martin-esque combination of synth stabs and melodic piano breaks, and the magnetism gap between Anitta and her guest. Here, these are compliments.
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Iain Mew: I love beats that trick me into thinking that I’m accidentally playing two tracks at once and that it was a glorious mistake. Anitta doesn’t quite kill it like Gaby Amarantos, but the invention and melding of hard electronic sounds with more traditional ones is just as impressive.
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Edward Okulicz: The track threw me for a loop three times in the first 20 seconds and then once more, seemingly just because it could. The pleasures of the beat and Anitta’s voice endured enough on repeat listens that the surprise wasn’t necessary.
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Juana Giaimo: Unfortunately, MC Guime’s verse suits the song better than Anitta’s lovely voice.
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Will Adams: Stronger performances from Anitta and MC Guimê would have merited repeat plays, but part of the thrill is not knowing to expect all those polyrhythms on the first play.
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David Sheffieck: With Anitta as a steady, constant presence, the production’s free to go agreeably bonkers — the trumpet- and piano-led bridge would be a strange enough twist, but clipped scatting and hyperactive synths that bleed across the rest of the song are exciting enough to seem like more than gimmicks.
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