In “No Meu Umbigo”, Lavínia , a talented singer, songwriter and actress from Bahia, offers us a musical journey rich in rhythmic and sound diversity, reflecting her deep roots in Bahia and her experiences in theater. This debut album is not only a celebration of love and memories, but also an ode to creative collaboration, featuring iconic figures in Brazilian music such as Otto, Manoel Cordeiro and Edil Pacheco, as well as emerging talents on each track.
The title of his debut album, “No Meu Umbigo”, has a special origin, thanks to a suggestion by Caetano Veloso. What was that moment of inspiration like and what does this title mean to you?
Caetano listened to a track in which I quote Estranho Amor on the day we met on New Year’s Eve at his house in Bahia. He listened carefully and at the end suggested the name “No Meu Umbigo”. I knew right away that there would be no better title for my debut album. After all, this name takes me back to birth. And the conception of this album was a long process. Very intimate, intense and required patience from me. It really was a musical birth. Caetano knows things.
The album “No Meu Umbigo” is described as a journey through different rhythms and sounds. What were the main musical influences that helped shape the sound of this work?
I am passionate about the musical richness of our country. And I’m very eclectic: The sun of the Northeast, Gonzaga, swing of xote, Rita Lee, Tom Zé, Gal’s singing, Caetano’s poetry, the delicacy of Bossa Nova… all of this touches me so much and that’s why it’s reflected in such a way. natural in my voice and in my way of being and composing.
You mention that the work is essentially feminine, reflecting your own experiences as a woman. How did your feminine perspective influence the album’s lyrics and messages?
I am a woman who seeks every day to be freer, more authentic, more true to my feelings and the feelings of others. The compositions form a mosaic of who I was, who I am, what I have experienced and what I seek to live.
In addition to being a singer, you are also an actress. How did your experience in theater contribute to the production and interpretation of the songs in “No Meu Umbigo”?
I believe that art allows me to experience all my versions, it is a powerful portal of self-knowledge. So when performing or composing I find very genuine parts of myself. The stage for me is a temple, sacred ground.
The album features the special participation of several talented artists, such as Otto, Manoel Cordeiro and Beto Barreto. How did these collaborations enrich the creative process and diversity of the album?
I believe in a collective art, woven by diverse people, which, when put together, aggregates and adds up. All the guests on the album brought essential contributions to this colorful and nuanced result of No Meu Umbigo. In such a digital era, it was great to bring this collective close, it made the studio a real party.
“Conselho” is one of the tracks on the album that talks about toxic relationships and female strength. What was the inspiration behind this song and what message do you hope to convey to your listeners?
The inspiration more specifically was a very close friend who was living in a toxic relationship and hadn’t realized it, although she was feeling sad in that place. In fact, the message is a reminder of love for every woman. Without realizing it, it happens that, at some point in our lives, we experience relationships that, instead of expanding us, shrink us.
“Venha Pra Bahia” is a track that references his grandfather, França Teixeira, a tropicalist communicator. How did family heritage and Bahian culture influence the composition of this song and the album as a whole?
My grandfather was a pioneer of communication between the 1960s and 1980s, creating jargon, opening radio and TV for live popular participation, conducting unforgettable interviews with Brazilian personalities, creating the first talk show in Brazil. Anyway, he is my great inspiration. And this, added to my entire experience in Salvador, my homeland, and on my vacations in Itaparica and Recôncavo Baiano, the coexistence with the people of these places, the history of all these beautiful people, I began to form my repertoire that is reflected in my art, for sure.
You mention that “Hotel Solar” is a declaration of love for your hometown, Salvador. What is the relationship between the city and your music, and how do you hope this track resonates with your listeners?
“Hotel Solar” talks about the neighborhoods of Salvador, the places that we naturally visit within that city that I love so much and that enchants everyone who gets there. It’s magic, there’s no way to rationally explain Salvador. You need to feel.
The album ends with “Pinta Um Baião”, a song that evokes his memories of Recôncavo Baiano and brings electronic elements. How does this track reflect your roots and your vision for the future of music?
Music is a journey. A true trip to my origins, to the countryside where I spent my childhood and teenage holidays. Beautiful land, where I feel very free, where my essence echoes, where I feel most like myself. Pinta um Baião is a partnership between me and Otto and brings many percussive elements, which I love and intend to explore even more in future works.
“Mon Amour” is described as a fun track, with a dose of humor and love. How do you balance lighter, more playful themes with the deeper messages that permeate the album?
I don’t compose with intention. In general, it flows. And this song came as a joke, a thought that took me to that place. To be light about something that could be a nuisance for someone else. Anyway, I compose in the first person, and let my mood of the day flow wherever it wants to take me.