Combining the delicate poetry of Brazilian Popular Music (MPB) with the charm of the children’s universe, Caninópolis and singer Ana Vilela released the single “Meu Filho” (My Son) on October 28th, a moving tribute to the bond between parents and children. Written by Ana Vilela and Sulivan Soares, the track was born from the sensitivity of Rafael Frota, creator of Caninópolis, as he observed his own son’s growth—transforming the experience into a song about affection, discovery, and connection. Produced by Pedro Alex, the release arrives on digital platforms accompanied by a national campaign that promises to move families of all ages.
The lyrics of “Meu Filho” (My Son) speak about the journey of discovery and love between parents and children. What memories or personal feelings surfaced during the songwriting process? Were the experiences recounted in the song based on your own life experiences?
Man, that’s really cool, because I think when we do a project in partnership with other people or with other projects, we end up having to travel to places that aren’t always ours, right? I, for example, don’t have children, but I tried to bring that feeling that I have inside me.
My family is very large, full of children—I have many uncles, cousins, some more distant, others who are always with me. I also have a little sister, and when I was composing the song, I thought a lot about this love I feel for the people around me: my little cousins, my sister…
Every child is unique, and each growth process is beautiful to witness. I’ve had the honor and pleasure of seeing some of them grow up, and that has deeply affected me. I think I brought that feeling to the project—that sense of seeing it as something beautiful to participate, even from afar, in the formation of a new person.
Do you believe that children’s music — or family music — has gained new ground in the current landscape, especially by bringing generations closer together and reviving emotional values in music that appeals to both adults and children?
I think so. Naturally, when you have a child at home, everything changes a bit — even what we listen to. Everything gets more mixed up: the music we like gets mixed up with Caninópolis, cartoon soundtracks, Disney movies… (laughs).
So, I think it’s something natural. When a family grows, this new soundscape appears almost on its own. And with the internet, this has become even more widespread. Parents spend more time with their children watching videos, movies, cartoons… and this universe ends up becoming part of everyone’s routine. It’s a very natural process, and I think it’s beautiful to see it happening.
Looking at your career path, from “Trem-Bala” to “Meu Filho,” what has changed in your way of composing and connecting with the audience—and what remains the same?
I think so — if I said no, it would be unfair. It’s been ten years of experience, of learning, and it’s natural that things change.
When Trem-Bala was born and released into the world, I was practically a child—I was 18 years old, just beginning to understand how the world worked. And that was reflected in my work, which is very personal. I write about what I live, what I feel. My songs are like an open diary.
It’s even difficult to step outside of that little box, to write about something that isn’t real for me. But over the years I’ve learned to see how valuable that is.
Today I see the world in a much more mature way, but I still have the same purpose: to connect people. It took me a while to understand that this was what made me different — the way I talked about life, about people, about emotions.
Today, I see much more value in that: in touching others, in moving someone emotionally. The rest is a consequence. In the end, it’s a very positive outcome.
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